Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the resurgence of far-right politics, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, now a different political figure appears as a possible leader. Even, the British flag, once an symbol of national pride, has become contentious again.

According to Enninful, the solution has long been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from art.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this moment will fade."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

His formative years would define a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose.

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

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Defying the caricature of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has involved hardship, including openly discussed struggles with depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid 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 be typecast has inspired him outside the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"The establishment often failed to celebrate the right artists because they lacked the traditional credentials," he observes.

This project itself uses a unique business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful industry leaders. His path, he states, is a demonstration to the power of defying expectations.

How would the Edward of the 90s make of the his current self? He smiles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."