Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, currently a different political force looms as a potential leader. Even, the British flag, 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 landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from literature.

"Those in a position of influence should use it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

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

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity both an insider and outsider."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including well-documented struggles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, 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 inspired him away from the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment didn't always celebrate the right artists because they weren't of the traditional credentials," he states.

The magazine 72 itself functions with a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most respected cultural influencers. His path, he feels, is a proof to the power of pursuing your passions.

What would the Enninful of that era make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."