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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving 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 – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

Although Enninful appears sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the growth of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again.

In Enninful's view, the response has consistently been to champion culture in all its diversity. 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 wide range of cultural icons from music.

"Individuals with a platform should wield it," he says, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this period will fade."

Hope in the Next Generation

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would shape a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Significantly, sales increased.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to adversity, including publicly shared periods of depression and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place 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 thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has propelled him away from the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Institutions often failed to celebrate the truly innovative creators because they did not have the traditional credentials," he comments.

The magazine 72 itself functions with a unique business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential creative power brokers. His path, he feels, is a testament to the power of following your instincts.

What would the Enninful of that era make of the man he has become? He smiles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."