Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the zenith 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 understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the growth of nationalist groups, the pushback against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, now a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has consistently been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from art.

"People with a voice should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this moment will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would shape a pioneering career built on 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 assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

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

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Defying the caricature of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His journey has involved adversity, including publicly shared periods of depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, 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 afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"Galleries often failed to shine a light on the right artists because they weren't of the traditional credentials," he comments.

This venture itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he feels, is a proof to the power of defying expectations.

How would the Edward of the 90s think of the man he has become? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."