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

An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from literature.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would forge a trailblazing career characterised by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.

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

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including openly discussed struggles with depression and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in 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 live in fear 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 restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be typecast has led him beyond the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

"Galleries often failed to promote the right artists because they did not have the expected background," he observes.

This project itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

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

What would the younger Edward think of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."