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

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels 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 worldwide."

Shifting Attitudes

This shift is difficult to overlook: the rise of nationalist groups, the pushback against progressive values, and the return of narrow beauty standards. Where once there was the hope of the previous decade, now a different political personality stands as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has always 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 portrait of modern Britain, including a diverse array of influential figures from art.

"Individuals with a platform should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this moment will end."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would define a trailblazing career built on boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being on the inside and the outside."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His life has involved hardship, including publicly shared struggles with mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box 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 influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"Galleries often failed to shine a light on the most relevant talents because they lacked the traditional credentials," he states.

The magazine 72 itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."