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

A serendipitous meeting during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, today a more divisive political personality looms as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the solution has always 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 portrait of modern Britain, including a wide range of prominent faces from art.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this period will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would define a trailblazing career built on boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales rose.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."

Defying the caricature of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His path has not been immune to adversity, including publicly shared periods of 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 dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has led him beyond the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"Galleries didn't always celebrate the most relevant talents because they lacked the expected background," he states.

The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of following your instincts.

How would the younger Edward think of the his current self? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."