Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is in good company. Recently, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the resurgence of populist movements, the reaction against social awareness, and the reassertion of narrow beauty standards. In place of the optimism of the late 90s, now a different political figure stands as a possible leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has always been to promote culture in all its diversity. 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 diverse array of cultural icons from politics.

"People with a voice should wield it," he says, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this moment will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would forge a trailblazing career built on boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity between worlds."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has involved challenges, including well-documented battles with depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, 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 figure in fashion."

Curating a Cultural Era

This refusal to be typecast has propelled him outside the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the traditional credentials," he comments.

This project itself operates on a unique business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential creative power brokers. His story, he believes, is a proof to the power of pursuing your passions.

What would the Edward of the 90s make of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."