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

A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era 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 felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the resurgence of nationalist groups, the backlash against progressive values, and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, today a more divisive political personality appears as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has always been to champion 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 celebration of modern Britain, featuring a wide range of influential figures from music.

"Individuals with a platform should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this period will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

His formative years would forge a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased.

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

Beyond the Magazine World

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

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is calm and exudes calm. His life has included its share of hardship, including publicly shared struggles with depression and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has inspired him outside the industry that made his name. He is now putting together 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 capture the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they weren't of the traditional credentials," he states.

This venture itself operates on a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential industry leaders. His journey, he feels, is a demonstration to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."