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

An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is difficult to overlook: the rise of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the previous decade, today a different political force stands as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has long been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from literature.

"Individuals with a platform should employ it," he says, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this period will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being on the inside and the outside."

Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and projects peace. His journey has included its share of hardship, including well-documented periods of depression and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has led him outside the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"Galleries often failed to promote the right artists because they weren't of the expected background," he states.

This venture itself functions with a unique approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

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

What would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."