Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem wistful, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the hope of the previous decade, now a different political force looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the response 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 celebration of modern Britain, showcasing a broad spectrum of prominent faces from music.

"People with a voice should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career characterised by fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including openly discussed periods of depression and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like 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 limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has inspired him outside the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"Institutions often failed to promote the truly innovative creators because they lacked the right pedigree," he observes.

This project itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential industry leaders. His journey, he states, is a proof to the power of pursuing your passions.

What would the Edward of the 90s think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."