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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered 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 rawness."

While Enninful may seem wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the growth of populist movements, the reaction against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the previous decade, today a more divisive political personality looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has always been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from art.

"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will end."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

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

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved hardship, including well-documented battles with depression and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has led him away from the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they weren't of the right pedigree," he states.

This project itself uses a unique strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a proof to the power of following your instincts.

What would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."