Edward Enninful discusses 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 teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director 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 close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the resurgence of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, currently a different political force looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the antidote has long been to champion 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 celebration of modern Britain, including a diverse array of cultural icons from politics.

"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this phase will pass."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would shape a pioneering career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being between worlds."

Defying the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has involved hardship, including openly discussed battles with depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, 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 figure in fashion."

A Foray into Curation

This refusal to fit into a box has led him beyond the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Institutions often failed to shine a light on the truly innovative creators because they lacked the expected background," he observes.

This venture itself uses a different business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions.

What would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."