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

A chance encounter on the London Underground in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the growth of populist movements, the reaction against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the response has consistently been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from politics.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will end."

The Younger Generation's Awareness

He takes comfort 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 pioneering career built on fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His path has not been immune to adversity, including openly discussed periods of mental health and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has led him away from the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"The establishment sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he states.

This project itself operates on a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

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

How would the Edward of the 90s react to the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."