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

A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a different political personality appears as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from music.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

His formative years would define a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside."

Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of hardship, including publicly shared periods of depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him outside the industry that made his name. He is now organising a significant 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 explore the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"Institutions didn't always celebrate the most relevant talents because they weren't of the expected background," he comments.

This project itself operates on a novel business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of following your instincts.

How would the Enninful of that era react to the his current self? He smiles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

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