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. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is in good company. In recent times, a longing look back of the 1990s has grown intense. But since that time, Enninful feels 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 Perceived Regression

This regression is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the solution has always been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from art.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this phase will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would define a pioneering career built on boldness and inclusivity. Enninful made history as the first man, first Black editor, 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 individuals from varied communities. Significantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity between worlds."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His path has not been immune to challenges, including publicly shared struggles with depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has led him away from the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal 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.

"The establishment didn't always celebrate the truly innovative creators because they lacked the right pedigree," he observes.

This venture itself functions with a unique approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of following your instincts.

What would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."