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 newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But since that time, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, today a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from literature.

"Individuals with a platform should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will pass."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would forge a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales rose.

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

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His life has involved adversity, including openly discussed periods of mental health and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear 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 thought, if this ever is over, 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."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him beyond the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the expected background," he states.

The magazine 72 itself functions with a different approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most respected cultural influencers. His story, he believes, is a proof to the power of pursuing your passions.

What would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, 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."