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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the zenith of the Britart scene – 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 kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, 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 regression is increasingly evident: the resurgence of far-right politics, the reaction against progressive values, and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a more divisive political personality appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from literature.

"Those in a position of influence should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will pass."

A New Wave of Consciousness

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

His formative years would define a groundbreaking career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has involved challenges, including well-documented periods of mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to go blind. 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 do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has inspired him beyond the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Galleries didn't always celebrate the right artists because they weren't of the expected background," he observes.

This venture itself uses a unique approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most respected industry leaders. His story, he feels, is a proof to the power of following your instincts.

What would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."