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

An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

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

If Enninful sounds wistful, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the growth of far-right politics, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the Blair era, now a more divisive political personality appears as a potential leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.

According to Enninful, the response has long been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from politics.

"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 were not a open country, if it refused 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 unconscious bias – I was not even aware what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of adversity, including well-documented periods of mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable 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 confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him away from the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"The establishment often failed to celebrate the right artists because they weren't of the traditional credentials," he comments.

The magazine 72 itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

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

What would the Enninful of that era think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."