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

A chance encounter during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political force stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, the response has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from music.

"Individuals with a platform should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would shape a groundbreaking career marked by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved adversity, including well-documented battles with depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has led him beyond the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"The establishment often failed to shine a light on the right artists because they weren't of the expected background," he comments.

This project itself functions with a unique strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential industry leaders. His path, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward react to the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."