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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from mannequin 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 states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is difficult to overlook: the rise of far-right politics, the pushback against progressive values, and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force looms as a possible leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

According to Enninful, the solution has long been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from politics.

"Those in a position of influence should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would shape a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants 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 doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has involved adversity, including publicly shared battles with depression and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 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 confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has led him outside the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.

"Galleries often failed to promote the most relevant talents because they weren't of the expected background," he observes.

This project itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

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

How would the Enninful of that era think of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."