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

A chance encounter while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "In my view, 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 Cultural Backslide

This shift is hard to ignore: the rise of nationalist groups, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, today a more divisive political force stands as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from music.

"People with a voice should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this period will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would define a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including well-documented periods of mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has led him outside the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"The establishment didn't always shine a light on the truly innovative creators because they lacked the expected background," he states.

The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."