Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the growth of far-right politics, the pushback against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the late 90s, currently a different political force stands as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from literature.

"Individuals with a platform should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given 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 finds hope in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

The beginnings of his career would shape a pioneering career marked by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 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 Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His life has involved adversity, including openly discussed struggles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, 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 fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him outside the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"Institutions sometimes neglected to shine a light on the right artists because they weren't of the expected background," he observes.

This venture itself operates on a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential industry leaders. His journey, he states, is a testament to the power of following your instincts.

How would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."