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

A chance encounter on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

While Enninful may seem wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the rise of populist movements, the pushback against social awareness, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, now a different political personality stands as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from politics.

"People with a voice should wield it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I believe this period will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would shape a trailblazing career characterised by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to challenges, including publicly shared struggles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him away from the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they did not have the expected background," he comments.

This venture itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

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

How would the younger Edward make of the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."