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

A chance encounter during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, moving 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 YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a profound shift. "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."

A Perceived Regression

This change is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the response has always been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from literature.

"People with a voice should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would forge a groundbreaking career marked by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Critically, sales increased.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds."

Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including openly discussed periods of mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has led him away from the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"Institutions didn't always shine a light on the most relevant talents because they weren't of the right pedigree," he comments.

This project itself operates on a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a proof to the power of following your instincts.

How would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."