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

A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the peak of the YBA movement – 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 great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, 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 everywhere."

A Perceived Regression

This change is difficult to overlook: the growth of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this period will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

His formative years would forge a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds."

Defying the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to hardship, including openly discussed struggles with depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, fearing I was going to go blind. 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 afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him away from the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they lacked the right pedigree," he comments.

This project itself uses a novel business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration 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 proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."