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

A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the zenith 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 felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the rise of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, now a more divisive political figure stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, the antidote has always been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from music.

"Those in a position of influence should use it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."

His formative years would shape a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside."

Defying the caricature of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His life has included its share of adversity, including well-documented struggles with depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place 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 thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has led him away from the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they weren't of the right pedigree," he comments.

This project itself functions with a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Today, Enninful operates as one of the world's most respected industry leaders. His story, he feels, is a proof to the power of following your instincts.

What would the Edward of the 90s make of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."