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

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 electric 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the resurgence of populist movements, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, now a different political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from literature.

"Individuals with a platform should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this period will end."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of adversity, including well-documented periods of depression and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has inspired him beyond the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Institutions didn't always celebrate the most relevant talents because they lacked the right pedigree," he comments.

This venture itself functions with a novel business model, eschewing 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 part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful cultural influencers. His story, he feels, is a proof to the power of following your instincts.

How would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."