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

An unexpected discovery while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a different political figure stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from music.

"Those in a position of influence should employ it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this moment will end."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would shape a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Significantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including well-documented battles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, not working, fearing 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 pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has led him outside the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"The establishment sometimes neglected to celebrate the right artists because they weren't of the right pedigree," he states.

This project itself uses a different strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, 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 creative power brokers. His story, he believes, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s think of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."