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

A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the resurgence of nationalist groups, the backlash against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political personality stands as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

For Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from politics.

"People with a voice should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this period will end."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Defying the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His path has involved challenges, including publicly shared struggles with depression and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has propelled him beyond the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"The establishment didn't always celebrate the right artists because they did not have the expected background," he observes.

This venture itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His path, he believes, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."