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

An unexpected discovery on the London Underground in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the growth of populist movements, the reaction against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, now a more divisive political personality appears as a potential leader. Even, the British flag, once an badge of national pride, has sparked debate once more.

According to Enninful, the solution has long been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from music.

"Those in a position of influence should use it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this moment will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would define a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is calm and projects peace. His life has not been immune to hardship, including publicly shared periods of depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has propelled him beyond the industry that built his career. He is now organising a seminal 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 spotlight those who did not receive due recognition at the time.

"The establishment didn't always shine a light on the most relevant talents because they weren't of the right pedigree," he comments.

The magazine 72 itself functions with a different business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of following your instincts.

What would the younger Edward make of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."