Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era 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 great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears wistful, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the rise of populist movements, the backlash against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, today a different political personality stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the solution has consistently been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"People with a voice should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would forge a pioneering 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 assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

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

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has involved hardship, including openly discussed battles with depression and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has inspired him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal 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 adequate attention at the time.

"The establishment didn't always celebrate the truly innovative creators because they lacked the right pedigree," he states.

This project itself uses a unique approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful cultural influencers. His journey, he states, is a testament to the power of following your instincts.

What would the younger Edward think of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."