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

An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the growth of populist movements, the pushback against progressive values, and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, now a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the response has long been to champion culture in all its variety. 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 broad spectrum of prominent faces from politics.

"People with a voice should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this period will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

His formative years would define a trailblazing career marked by fearlessness and inclusivity. Enninful made history 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 leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has involved hardship, including well-documented battles with mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 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 limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has inspired him beyond the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"Institutions often failed to shine a light on the most relevant talents because they lacked the expected background," he comments.

This project itself functions with a different approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential cultural influencers. His path, he feels, is a demonstration to the power of following your instincts.

How would the Enninful of that era make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."