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

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

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

Although Enninful appears sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the rise of nationalist groups, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, today a different political figure looms as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

According to Enninful, the solution has always been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from music.

"People with a voice should wield it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this period will fade."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious 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 built on fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his new venture 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’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to hardship, including publicly shared struggles with depression and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has led him away from the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, 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 comments.

This project itself operates on a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

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

What would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."