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

An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the rise of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. In place of the hope of the late 90s, currently a different political force appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has long been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from music.

"Individuals with a platform should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would define a trailblazing career built on boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. 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, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and projects peace. His journey has not been immune to adversity, including openly discussed battles with mental health and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has propelled him outside the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the traditional credentials," he observes.

The magazine 72 itself operates on a different approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

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

What would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."