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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the zenith of the YBA movement – 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 socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is difficult to overlook: the rise of nationalist groups, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from politics.

"Individuals with a platform should use it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this phase will pass."

A New Wave of Consciousness

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

His formative years would define a trailblazing career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being between worlds."

Defying the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of adversity, including publicly shared periods of mental health and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, 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."

A Foray into Curation

This refusal to be defined narrowly has propelled him beyond the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"Institutions often failed to celebrate the most relevant talents because they lacked the right pedigree," he states.

The magazine 72 itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most influential industry leaders. His path, he states, is a testament to the power of defying expectations.

What would the Enninful of that era think of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."