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

A chance encounter while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the growth of populist movements, the pushback against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, now a different political figure appears as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has consistently been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from literature.

"Individuals with a platform should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this phase will pass."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would forge a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His journey has involved adversity, including well-documented struggles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has propelled him away from the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"Institutions didn't always celebrate the right artists because they did not have the traditional credentials," he comments.

The magazine 72 itself functions with a unique approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful operates as one of the world's most influential cultural influencers. His story, he feels, is a demonstration to the power of following your instincts.

How would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."