Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, now a different political force appears as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from music.

"Individuals with a platform should use it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will end."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

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

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

Defying the popular image 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 depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a dark place for two years, away from work, anxious 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 embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has inspired him beyond the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential 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 due recognition at the time.

"The establishment didn't always shine a light on the most relevant talents because they weren't of the expected background," he observes.

This venture itself functions with a different approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

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

What would the Enninful of that era react to the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."