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. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the peak 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 kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the rise of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the previous decade, currently a more divisive political force appears as a possible leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

According to Enninful, the antidote has always been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from art.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would forge a groundbreaking career characterised by boldness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to challenges, including well-documented struggles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has propelled him outside the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Institutions sometimes neglected to shine a light on the right artists because they lacked the traditional credentials," he states.

The magazine 72 itself uses a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential industry leaders. His journey, he believes, is a proof to the power of following your instincts.

How would the younger Edward think of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."