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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the rise of far-right politics, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political figure stands as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the solution has always been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from music.

"People with a voice should wield it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this moment will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

Defying the popular image of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including openly discussed struggles with mental health and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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."

Curating a Cultural Era

This refusal to be typecast has led him beyond the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"The establishment didn't always celebrate the truly innovative creators because they weren't of the right pedigree," he observes.

The magazine 72 itself functions with a unique approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful industry leaders. His path, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."