Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears wistful, 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 perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the growth of populist movements, the pushback against progressive values, and the return of narrow beauty standards. In place of the optimism of the Blair era, currently a different political personality stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has always been to celebrate 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 celebration of modern Britain, featuring a diverse array of prominent faces from politics.

"Individuals with a platform should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will fade."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would shape a pioneering career marked by fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of hardship, including well-documented struggles with mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has propelled him outside the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"Institutions didn't always promote the truly innovative creators because they lacked the traditional credentials," he comments.

This project itself functions with a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His path, he states, is a proof to the power of defying expectations.

How would the Enninful of that era think of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."