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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

If Enninful sounds sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a noticeable regression. "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 difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the return of traditional beauty standards. In place of the optimism of the Blair era, today a more divisive political figure stands as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

According to Enninful, the solution has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from politics.

"People with a voice should use it," he comments, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this moment will end."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would forge a groundbreaking career characterised by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has included its share of adversity, including publicly shared battles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has led him beyond the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Institutions often failed to celebrate the most relevant talents because they lacked the right pedigree," he states.

This project itself uses a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

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

What would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We lost our home, we fled our country. I came close to losing 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 set my intention to do something."