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

An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the peak 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 mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. Replacing the optimism of the Blair era, today a more divisive political personality stands as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the solution has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from music.

"People with a voice should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this phase will end."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would forge a groundbreaking career marked by boldness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity between worlds."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His life has included its share of hardship, including openly discussed periods of depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him beyond the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who lacked due recognition at the time.

"Galleries often failed to celebrate the right artists because they weren't of the traditional credentials," he comments.

This venture itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he states, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."