Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, now a different political force appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the response has long been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from art.

"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will pass."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."

His formative years would shape a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective between worlds."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has involved hardship, including well-documented battles with mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be typecast has propelled him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"The establishment sometimes neglected to promote the most relevant talents because they did not have the expected background," he comments.

The magazine 72 itself uses a novel business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era react to the man he has become? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."