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

A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the zenith 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 understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, now a different political personality appears as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the solution has long been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from art.

"Those in a position of influence should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will end."

The Younger Generation's Awareness

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

Those early experiences would forge a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. 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 … those experiences gave me a dual identity both an insider and outsider."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including well-documented battles with depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has inspired him beyond the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Institutions didn't always shine a light on the right artists because they did not have the traditional credentials," he states.

This venture itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential creative power brokers. His journey, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward make of the man he has become? He laughs heartily. "It would be a surprise, 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. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."