Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the rise of populist movements, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the hope of the late 90s, currently a different political force appears as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the response has consistently been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from music.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will end."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would shape a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including well-documented struggles with mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, not working, anxious I was going to go blind. 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 do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has led him beyond the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the expected background," he states.

This project itself functions with a different approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential creative power brokers. His path, he feels, is a testament to the power of pursuing your passions.

How would the Enninful of that era react to the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."