Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – 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 close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is in good company. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the resurgence of far-right politics, the reaction against social awareness, and the return of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political figure looms as a possible leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

According to Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from literature.

"People with a voice should use it," he says, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was 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 moment will pass."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would forge a trailblazing career characterised by fearlessness and representation. Enninful set a precedent 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 tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity between worlds."

In contrast to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has involved challenges, including openly discussed battles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in 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 live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has inspired him outside the world that built his career. 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 explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"Galleries didn't always shine a light on the most relevant talents because they lacked the right pedigree," he observes.

The magazine 72 itself functions with a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential industry leaders. His journey, he states, is a demonstration to the power of defying expectations.

What would the Enninful of that era react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."