Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

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

Although Enninful appears wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. Yet since that time, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the growth of far-right politics, the backlash against social awareness, and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political personality looms as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has consistently been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature.

"Individuals with a platform should use it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this phase will end."

A New Wave of Consciousness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would forge a pioneering career built on boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has involved hardship, including openly discussed struggles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has propelled him beyond the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they weren't of the traditional credentials," he comments.

This project itself functions with a different approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a proof to the power of pursuing your passions.

What would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."