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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the hope of the Blair era, today a more divisive political force appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has always been to celebrate culture in all its multifaceted forms. 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.

"People with a voice should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this period will end."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious 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 boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and exudes calm. His life has included its share of challenges, including well-documented periods of depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s like 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 fearful 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 fit into a box has inspired him beyond the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they lacked the right pedigree," he comments.

The magazine 72 itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he feels, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."