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

An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the rise of nationalist groups, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a more divisive political force looms as a potential leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.

According to Enninful, the solution has consistently been to champion 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, featuring a wide range of influential figures from art.

"Those in a position of influence should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career characterised by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being between worlds."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including openly discussed struggles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared 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 away from the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Institutions often failed to celebrate the truly innovative creators because they did not have the traditional credentials," he comments.

This project itself operates on a different strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential industry leaders. His journey, he believes, is a demonstration to the power of pursuing your passions.

What would the younger Edward think of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."