Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the growth of populist movements, the backlash against progressive values, and the reinforcement of traditional beauty standards. In place of the hope of the late 90s, currently a different political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has long been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from literature.

"Those in a position of influence should employ it," he comments, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will end."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would forge a groundbreaking career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His path has not been immune to hardship, including openly discussed struggles with depression and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity 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 refusal to fit into a box has inspired him away from the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who lacked due recognition at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they lacked the expected background," he observes.

This project itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he believes, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."