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

A chance encounter while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, currently a more divisive political force looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

According to Enninful, the solution has consistently been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from politics.

"People with a voice should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this period will pass."

The Younger Generation's Awareness

He finds hope 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 define a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. 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 the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to adversity, including well-documented struggles with depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, 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 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 figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has led him outside the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"Galleries sometimes neglected to promote the most relevant talents because they weren't of the traditional credentials," he observes.

The magazine 72 itself operates on a unique strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, 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

Now, Enninful operates as one of the world's most powerful industry leaders. His path, he feels, is a demonstration to the power of defying expectations.

How would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."