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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, currently a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

For Enninful, the antidote has always been to celebrate 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 celebration of modern Britain, featuring a diverse array of cultural icons from music.

"Individuals with a platform should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this period will end."

Hope in the Next Generation

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

Those early experiences would shape a trailblazing career marked by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity on the inside and the outside."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to challenges, including openly discussed battles with mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has propelled him away from the world 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 notes, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"The establishment sometimes neglected to promote the most relevant talents because they did not have the traditional credentials," he observes.

The magazine 72 itself operates on a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful industry leaders. His path, he feels, is a demonstration to the power of defying expectations.

What would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."