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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the growth of nationalist groups, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the Blair era, today a different political force looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from literature.

"Those in a position of influence should use it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will end."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would shape a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His path has not been immune to hardship, including well-documented periods of depression and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has propelled him away from the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"The establishment often failed to celebrate the most relevant talents because they weren't of the expected background," he comments.

This project 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 experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential cultural influencers. His story, he believes, is a proof to the power of following your instincts.

How would the younger Edward make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."