Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the rise of populist movements, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a more divisive political figure appears as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has always been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from politics.

"Those in a position of influence should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this period will fade."

Hope in the Next Generation

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

Those early experiences would define a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales grew.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire 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 arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity between worlds."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has involved adversity, including well-documented periods of depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has inspired him away from the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Galleries often failed to shine a light on the truly innovative creators because they lacked the right pedigree," he states.

The magazine 72 itself functions with a unique approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected industry leaders. His story, he states, is a proof to the power of following your instincts.

How would the younger Edward make of the his current self? He smiles. "It would be a surprise, 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. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."