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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the zenith 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 felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, today a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from politics.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this phase will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "innovator".

"I constantly interrogate 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, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

Defying the popular image of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including well-documented battles with mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in 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 ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has propelled him outside the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"Institutions didn't always shine a light on the truly innovative creators because they lacked the traditional credentials," he observes.

This venture itself operates on a novel business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

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

What would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."