Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A chance encounter during a tube journey in 1988 altered the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

While Enninful may seem sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a more divisive political personality looms as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the response has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from art.

"People with a voice should employ it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will fade."

A New Wave of Consciousness

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

Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds."

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

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has led him outside the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Galleries didn't always celebrate the most relevant talents because they lacked the right pedigree," he observes.

The magazine 72 itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected cultural influencers. His story, he feels, is a proof to the power of defying expectations.

How would the Edward of the 90s react to the his current self? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."