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

An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the rise of far-right politics, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, today a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

For Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from politics.

"Those in a position of influence should wield it," he says, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this moment will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would shape a pioneering career built on boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to challenges, including openly discussed periods of mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him outside the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the right pedigree," he observes.

This venture itself uses a different approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of following your instincts.

What would the younger Edward react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."