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

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political personality appears as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the antidote 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 broad spectrum of cultural icons from politics.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will fade."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a trailblazing career marked by boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."

Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has involved challenges, including openly discussed periods of mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has led him beyond the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Galleries often failed to celebrate the truly innovative creators because they did not have the expected background," he comments.

This venture itself uses a unique approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential cultural influencers. His path, he believes, is a demonstration to the power of following your instincts.

What would the Edward of the 90s think of the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."