Edward Enninful discusses 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. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is far from alone. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the reinforcement of traditional beauty standards. Replacing the hope of the Blair era, today a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from music.

"Individuals with a platform should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will end."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would define a pioneering career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including openly discussed battles with mental health and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him away from the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Institutions often failed to celebrate the right artists because they weren't of the traditional credentials," he states.

This venture itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential industry leaders. His story, he feels, is a testament to the power of defying expectations.

What would the Enninful of that era think of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."