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

An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

If Enninful sounds wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, today a different political force looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from literature.

"Those in a position of influence should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I hope this period will pass."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would define a trailblazing career characterised by fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has involved adversity, including well-documented battles with mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries 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 exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has propelled him beyond the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"The establishment didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he comments.

This venture itself uses a novel approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful creative power brokers. His story, he believes, is a demonstration to the power of following your instincts.

How would the Enninful of that era think of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, 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 I am unstoppable once I’ve made up my mind to do something."