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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears wistful, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the rise of nationalist groups, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the late 90s, currently a more divisive political figure stands as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has consistently been to promote 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 snapshot of modern Britain, featuring a broad spectrum of influential figures from art.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will fade."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would forge a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including well-documented periods of depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him beyond the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"Institutions often failed to shine a light on the right artists because they lacked the expected background," he observes.

The magazine 72 itself operates on a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful industry leaders. His journey, he believes, is a testament to the power of pursuing your passions.

How would the Enninful of that era make of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."