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

A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. In place of the hope of the late 90s, today a more divisive political figure stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the solution has always been to champion 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 portrait of modern Britain, featuring a wide range of prominent faces from music.

"People with a voice should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this period will fade."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would shape a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the popular image of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His life has included its share of adversity, including well-documented periods of depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a difficult period 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 prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has propelled him away from the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"Galleries often failed to celebrate the most relevant talents because they lacked the right pedigree," he observes.

The magazine 72 itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

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

How would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."