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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful believes a significant change. "I believe, 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 shift is difficult to overlook: the rise of far-right politics, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, currently a more divisive political figure stands as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from politics.

"People with a voice should use it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this moment will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

Those early experiences would shape a groundbreaking career built on boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"When you ignore huge sections 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 recently launched his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His path has involved challenges, including openly discussed battles with depression and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has led him beyond the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

"Institutions often failed to shine a light on the truly innovative creators because they did not have the expected background," he observes.

This project itself uses a novel approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential industry leaders. His path, he feels, is a testament to the power of pursuing your passions.

What would the Enninful of that era react to the man he has become? He chuckles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."