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

A serendipitous meeting during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political figure stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

According to Enninful, the solution has consistently been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from art.

"Those in a position of influence should use it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this moment will pass."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"When you ignore large portions 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 new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of adversity, including well-documented periods of depression and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid 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 typecast has led him outside the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"Galleries didn't always shine a light on the truly innovative creators because they lacked the traditional credentials," he states.

This project itself uses a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a proof to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He chuckles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."