Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the growth of far-right politics, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the Blair era, currently a different political personality looms as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the antidote has always been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from art.

"Individuals with a platform should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this phase will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would shape a trailblazing career built on fearlessness and inclusivity. Enninful broke barriers as the first man, 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, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity both an insider and outsider."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has involved challenges, including well-documented periods of depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has inspired him beyond the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"The establishment often failed to celebrate the most relevant talents because they did not have the traditional credentials," he comments.

The magazine 72 itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful cultural influencers. His story, he feels, is a proof to the power of defying expectations.

How would the younger Edward make of the his current self? He smiles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."