Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the growth of nationalist groups, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. In place of the hope of the Blair era, currently a different political figure looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

According to Enninful, the response has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from politics.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would define a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, 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.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. 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 unique perspective between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of challenges, including openly discussed battles with depression and addiction.

He has also undergone significant 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, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, 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 fashion person."

A Foray into Curation

This refusal to fit into a box has led him outside the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"The establishment often failed to shine a light on the truly innovative creators because they lacked the right pedigree," he states.

This project itself operates on a novel business model, 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 one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential industry leaders. His journey, he states, is a proof to the power of pursuing your passions.

How would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."