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

A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of far-right politics, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, today a more divisive political personality stands as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from politics.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this moment will fade."

Hope in the Next Generation

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

Those early experiences would shape a groundbreaking career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Significantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His life has involved challenges, including openly discussed battles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, not working, fearing 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 embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has inspired him outside the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"Institutions didn't always shine a light on the right artists because they did not have the right pedigree," he states.

This venture itself functions with a different business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most influential cultural influencers. His story, he states, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."