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

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the resurgence of populist movements, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the late 90s, today a more divisive political force appears as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the response has always 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 snapshot of modern Britain, including a wide range of influential figures from politics.

"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would define a pioneering career marked by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being between worlds."

Defying the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has involved hardship, including openly discussed periods of depression and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has led him away from the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

"The establishment often failed to shine a light on the most relevant talents because they did not have the traditional credentials," he states.

This venture itself operates on a novel business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."