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

An unexpected discovery while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the rise of populist movements, the pushback against progressive values, and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political force looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from art.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

His formative years would define a pioneering 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 lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has included its share of adversity, including publicly shared struggles with depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 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 limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him beyond the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he states.

The magazine 72 itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of following your instincts.

How would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."