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

A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the rise of nationalist groups, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political figure looms as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has long 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 snapshot of modern Britain, showcasing a wide range of prominent faces from politics.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will pass."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would define a trailblazing career characterised by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His life has involved adversity, including publicly shared struggles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has inspired him outside the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he observes.

The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach 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

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he believes, is a demonstration to the power of defying expectations.

How would the Edward of the 90s react to the man he has become? He chuckles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."