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

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the growth of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Replacing the optimism of the late 90s, today a more divisive political personality looms as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from music.

"Those in a position of influence should wield it," he comments, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would define a pioneering career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Significantly, sales rose.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds."

Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including publicly shared battles with depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, anxious 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 embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has inspired him beyond the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Institutions didn't always promote the truly innovative creators because they lacked the expected background," he states.

The magazine 72 itself operates on a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most influential cultural influencers. His path, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward think of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."