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

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, 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 states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the previous decade, now a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from literature.

"Individuals with a platform should use it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will end."

A New Wave of Consciousness

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

Those early experiences would define a groundbreaking 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 take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity between worlds."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His path has involved adversity, including publicly shared periods of depression and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be typecast has inspired him outside the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"The establishment didn't always promote the right artists because they weren't of the traditional credentials," he comments.

The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected creative power brokers. His story, he feels, is a testament to the power of pursuing your passions.

What would the Enninful of that era think of the his current self? He chuckles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."