Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the rise of nationalist groups, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, currently a different political figure looms as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the response has always 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 snapshot of modern Britain, featuring a wide range of influential figures from politics.

"Individuals with a platform should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will pass."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would shape a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales increased.

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

A New Chapter as a 'Disruptor'

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

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being both an insider and outsider."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has involved challenges, including well-documented battles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, 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 is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to promote the most relevant talents because they lacked the expected background," he observes.

This venture itself functions with a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected creative power brokers. His story, he believes, is a proof to the power of defying expectations.

How would the younger Edward think of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."