Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is in good company. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the return of narrow beauty standards. Replacing the hope of the Blair era, today a different political personality looms as a potential leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.

According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from music.

"Those in a position of influence should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this moment will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would shape a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is calm and projects peace. His life has included its share of challenges, including openly discussed periods of depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to fit into a box has inspired him outside the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they lacked the right pedigree," he states.

This project itself uses a novel approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of pursuing your passions.

How would the younger Edward make of the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."