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

A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the resurgence of far-right politics, the backlash against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, currently a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution 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, featuring a broad spectrum of cultural icons from literature.

"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

His formative years would forge a pioneering career marked by boldness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales increased.

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

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

Defying the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has involved hardship, including openly discussed periods of mental health and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has led him outside the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential 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 adequate attention at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they weren't of the right pedigree," he observes.

This venture itself operates on a unique strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected industry leaders. His path, he believes, is a demonstration to the power of defying expectations.

How would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."