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

A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, currently a more divisive political force looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response 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 snapshot of modern Britain, featuring a wide range of cultural icons from art.

"Individuals with a platform should use it," he says, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this period will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would define a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds."

Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including well-documented struggles with depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a dark place 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 vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine 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 industry that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"The establishment often failed to promote the right artists because they did not have the traditional credentials," he observes.

This project itself uses a different approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of defying expectations.

What would the Edward of the 90s make of the man he has become? He smiles. "It would be a surprise, 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 pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."