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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is in good company. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the resurgence of nationalist groups, the reaction against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political force appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from politics.

"Those in a position of influence should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will end."

A New Wave of Consciousness

He takes comfort in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His life has included its share of challenges, including publicly shared periods of depression and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. 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 scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be typecast has led him away from the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.

"Galleries didn't always shine a light on the most relevant talents because they did not have the expected background," he states.

This venture itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a demonstration to the power of following your instincts.

What would the Edward of the 90s think of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."