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

A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the growth of populist movements, the pushback against social awareness, and the return of traditional beauty standards. In place of the optimism of the previous decade, now a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has long been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from politics.

"Those in a position of influence should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."

Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to adversity, including well-documented battles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all 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 drive to be defined narrowly has led him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"The establishment didn't always celebrate the truly innovative creators because they weren't of the right pedigree," he observes.

The magazine 72 itself functions with a different strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of following your instincts.

How would the Edward of the 90s react to the man he has become? He laughs heartily. "He’d be in shock, 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 reflects. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."