Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A chance encounter during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the resurgence of far-right politics, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the Blair era, currently a different political force stands as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution has always been to promote culture in all its multifaceted forms. 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 wide range of cultural icons from literature.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will end."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would define a trailblazing career built on boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including publicly shared struggles with depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, 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 limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him away from the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he observes.

This venture itself functions with a unique approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of pursuing your passions.

What would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."