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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the late 90s, now a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, the response has long been to celebrate culture in all its diversity. This was the guiding principle 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 politics.

"People with a voice should use it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would forge a trailblazing career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including openly discussed battles with depression and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has led him beyond the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the right pedigree," he states.

This project itself functions with a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential industry leaders. His journey, he states, is a proof to the power of defying expectations.

What would the Enninful of that era think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."