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

An unexpected discovery on the London Underground in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

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

Although Enninful appears nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. In place of the optimism of the previous decade, now a more divisive political figure looms as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the antidote has always been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from literature.

"Those in a position of influence should employ it," he comments, explaining those publishing choices. "People often debate 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 opportunity. That’s the Britain I believed in. I hope this moment will end."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Importantly, sales increased.

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

A New Chapter as a 'Disruptor'

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

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity between worlds."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including openly discussed battles with mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, 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 figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has led him beyond the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"Galleries often failed to promote the right artists because they weren't of the expected background," he comments.

This venture itself functions with a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."