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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the previous decade, now a different political force appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the solution has long been to champion 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 portrait of modern Britain, including a broad spectrum of cultural icons from literature.

"People with a voice should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

His formative years would forge a pioneering career built on fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.

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

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. 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 painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to adversity, including publicly shared struggles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, not working, terrified 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 fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has propelled him outside the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes.

This project itself functions with a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful creative power brokers. His path, he believes, is a demonstration to the power of following your instincts.

What would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."