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

An unexpected discovery during a tube journey in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time 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 great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem wistful, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the rise of populist movements, the backlash against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political force looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the solution has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from art.

"People with a voice should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will end."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career marked by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has involved hardship, including well-documented battles with mental health and substance use.

He has also endured serious health issues, having had multiple operations 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 lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has inspired him away from the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Galleries often failed to celebrate the truly innovative creators because they lacked the expected background," he observes.

This project itself operates on a different strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a proof to the power of following your instincts.

What would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."