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

A chance encounter during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is in good company. Recently, a longing look back of the 1990s has grown intense. But since that time, 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 worldwide."

A Cultural Backslide

This change is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the hope of the previous decade, currently 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 promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from art.

"Those in a position of influence should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this period will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would shape a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, 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 recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to adversity, including publicly shared struggles with depression and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has led him away from the industry that established him. He is now putting together 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 capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"The establishment often failed to shine a light on the right artists because they lacked the expected background," he comments.

This project itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, 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.

What would the younger Edward think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."