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 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the resurgence of far-right politics, the reaction against social awareness, and the return of traditional beauty standards. In place of the hope of the Blair era, today a different political personality looms as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the response has always been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from music.

"People with a voice should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this period will end."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would forge a pioneering career built on boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s not just 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 accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where the majority 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 predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His journey has involved hardship, including well-documented battles with depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him away from the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Galleries didn't always celebrate the most relevant talents because they lacked the right pedigree," he observes.

The magazine 72 itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

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

How would the younger Edward react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."