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

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the resurgence of far-right politics, the reaction against so-called "wokeness", and the return of traditional beauty standards. Replacing the hope of the late 90s, now a more divisive political personality stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.

In Enninful's view, the antidote has always been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from literature.

"People with a voice should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this phase will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would forge a pioneering career built on fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His life has involved challenges, including openly discussed struggles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. 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 restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has inspired him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"The establishment often failed to promote the right artists because they weren't of the expected background," he states.

This venture itself uses a different approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful industry leaders. His path, he states, is a demonstration to the power of defying expectations.

What would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "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 counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."