Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the previous decade, currently a different political personality appears as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the solution has long been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from literature.

"Individuals with a platform should wield it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this period will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, 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 emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has not been immune to hardship, including publicly shared struggles with depression and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him beyond the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the traditional credentials," he observes.

The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful industry leaders. His story, he believes, is a proof to the power of pursuing your passions.

What would the younger Edward react to the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."