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

A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the growth of nationalist groups, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, now a different political force appears as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from art.

"Individuals with a platform should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would shape a trailblazing career built on boldness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose.

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

A New Chapter as a 'Disruptor'

He has recently launched 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 "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and projects peace. His life has included its share of hardship, including well-documented struggles with depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to 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 afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has led him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"The establishment sometimes neglected to promote the most relevant talents because they weren't of the expected background," he observes.

This venture itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential cultural influencers. His path, he believes, is a demonstration to the power of defying expectations.

How would the Edward of the 90s make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."