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

A serendipitous meeting on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, 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 remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the resurgence of populist movements, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

According to Enninful, the response has long 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 cultural icons from politics.

"People with a voice should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

Hope in the Next Generation

He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

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

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of challenges, including publicly shared battles with mental health and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has led him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Institutions didn't always celebrate the most relevant talents because they did not have the expected background," he comments.

The magazine 72 itself functions with a novel approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he feels, is a testament to the power of pursuing your passions.

What would the younger Edward make of the man he has become? He smiles. "He’d be in shock, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost 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 decided to do something."