Edward Enninful on 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 young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the rise of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. In place of the hope of the previous decade, today a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from music.

"Individuals with a platform should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this moment will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a trailblazing career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to challenges, including publicly shared battles with mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to fit into a box has led him away from the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the traditional credentials," he observes.

This venture itself uses a novel business model, 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."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of defying expectations.

What would the younger Edward think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."