Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

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

Although Enninful appears sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the resurgence of far-right politics, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the previous decade, now a more divisive political force appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the response has long been to promote culture in all its variety. 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 broad spectrum of prominent faces from politics.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this phase will pass."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would forge a pioneering career characterised by boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. 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 unique perspective on the inside and the outside."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including openly discussed periods of mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, anxious 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 ends, 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."

Curating a Cultural Era

This refusal to be typecast has propelled him beyond the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Institutions didn't always shine a light on the right artists because they lacked the traditional credentials," he states.

This project itself operates on a unique strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of following your instincts.

How would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."