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

A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 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 zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, today a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote 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 wide range of cultural icons from music.

"People with a voice should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this moment will fade."

Hope in the Next Generation

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

The beginnings of his career would forge a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has involved hardship, including well-documented struggles with depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, fearing 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 embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has led him beyond the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"Galleries didn't always celebrate the most relevant talents because they did not have the right pedigree," he states.

This project itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he states, is a demonstration to the power of defying expectations.

How would the Enninful of that era make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."