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 path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, today a different political personality looms as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics.

"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career built on boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider."

Defying the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has involved adversity, including well-documented periods of mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, terrified 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 passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has inspired him outside the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he comments.

The magazine 72 itself uses a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected industry leaders. His story, he feels, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."