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

A chance encounter while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the rise of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the late 90s, today a different political personality looms as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has long been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from politics.

"Those in a position of influence should employ it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will pass."

Hope in the Next Generation

He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would forge a groundbreaking career characterised by 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 leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. 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 painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity between worlds."

Defying the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of hardship, including publicly shared struggles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in 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 live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has led him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"Institutions often failed to promote the truly innovative creators because they weren't of the right pedigree," he comments.

This project itself functions with a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he states, is a demonstration to the power of defying expectations.

How would the younger Edward react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."