Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the late 90s, now a different political force looms as a possible leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the solution has long been to promote 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 diverse array of influential figures from music.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this period will end."

A New Wave of Consciousness

He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career built on boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched 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 "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of hardship, including openly discussed battles with depression and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, anxious 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 embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has led him outside the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Galleries sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes.

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

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of defying expectations.

How would the younger Edward think of the his current self? He smiles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."