Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the previous decade, today a different political personality appears as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has long been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from music.

"People with a voice should wield it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will fade."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."

Those early experiences would shape a trailblazing career built on fearlessness 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 take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has included its share of hardship, including openly discussed struggles with depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s like 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 confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has propelled him away from the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"The establishment often failed to shine a light on the truly innovative creators because they did not have the traditional credentials," he comments.

The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of following your instincts.

What would the younger Edward make of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."