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

A serendipitous meeting on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

While Enninful may seem sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, today a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

In Enninful's view, the solution has long been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from politics.

"Those in a position of influence should employ it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this period will pass."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

His formative years would forge a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

"When you ignore 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 since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."

Defying the popular image of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including well-documented periods of depression and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has inspired him away from the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the expected background," he states.

The magazine 72 itself operates on a different approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential creative power brokers. His story, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era think of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."