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

A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is increasingly evident: the rise of populist movements, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the hope of the Blair era, today a different political personality stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the solution has always been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from literature.

"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this moment will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would shape a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."

Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including well-documented struggles with depression and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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 determination to fit into a box has led him beyond the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

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

This project itself uses a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential creative power brokers. His path, he states, is a testament to the power of following your instincts.

How would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."