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

A serendipitous meeting on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of narrow beauty standards. In place of the optimism of the previous decade, now a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.

According to Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from music.

"Individuals with a platform should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here 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 cherished. I believe this moment will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would shape a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales grew.

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

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to adversity, including openly discussed battles with depression and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has inspired him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"The establishment sometimes neglected to celebrate the right artists because they lacked the right pedigree," he states.

The magazine 72 itself operates on a different business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."