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

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, 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 Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the rise of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the late 90s, currently a different political figure stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from politics.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this moment will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being on the inside and the outside."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to hardship, including well-documented struggles with depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has led him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they lacked the traditional credentials," he comments.

This venture itself operates on a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

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

How would the Enninful of that era make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."