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

A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, now a different political personality stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the response has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from art.

"People with a voice should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

His formative years would forge a groundbreaking career built on fearlessness and representation. Enninful broke barriers 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 tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people 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 bad for business," he states.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of challenges, including publicly shared struggles with depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has inspired him outside the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"Galleries often failed to celebrate the most relevant talents because they weren't of the right pedigree," he observes.

This project itself uses a different strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful cultural influencers. His path, he believes, is a testament to the power of defying expectations.

What would the Enninful of that era make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."