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

A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the growth of populist movements, the pushback against social awareness, and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, today a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

For Enninful, the antidote has always been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from art.

"People with a voice should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will fade."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

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

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His path has not been immune to challenges, including openly discussed battles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has propelled him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"Galleries didn't always promote the truly innovative creators because they weren't of the right pedigree," he states.

The magazine 72 itself functions with a unique business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential cultural influencers. His path, he feels, is a testament to the power of following your instincts.

What would the Enninful of that era make of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."