Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the pushback against social awareness, and the return of narrow beauty standards. In place of the optimism of the previous decade, currently a different political personality stands as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

For Enninful, the solution has consistently been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from music.

"People with a voice should use it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this phase will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

The beginnings of his career would define a trailblazing career characterised by boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has not been immune to hardship, including openly discussed periods of depression and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has propelled him beyond the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he comments.

This venture itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful industry leaders. His story, he feels, is a demonstration to the power of defying expectations.

How would the Edward of the 90s think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."