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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the return of traditional beauty standards. Replacing the hope of the late 90s, now a different political figure appears as a potential leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.

For Enninful, the response has consistently been to promote culture in all its variety. 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 broad spectrum of prominent faces from music.

"People with a voice should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this period will fade."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would shape a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds."

Defying the popular image of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including well-documented battles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, 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 figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him beyond the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"The establishment often failed to shine a light on the most relevant talents because they did not have the expected background," he observes.

This venture itself uses a different approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected cultural influencers. His path, he states, is a proof to the power of pursuing your passions.

How would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."