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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, currently a more divisive political personality stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has long been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from literature.

"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would define a pioneering career characterised by fearlessness and inclusivity. 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 tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of adversity, including well-documented periods of mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, terrified 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 embrace every opportunity 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 drive to be typecast has inspired him away from the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Institutions didn't always celebrate the right artists because they lacked the expected background," he observes.

This venture itself uses a novel business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most respected cultural influencers. His path, he states, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s react to the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."