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

A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

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

Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the growth of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, now a more divisive political personality appears as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from art.

"People with a voice should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this period will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would shape a groundbreaking career built on fearlessness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

Defying the popular image of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His path has involved challenges, including publicly shared periods of mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. 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 fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has propelled him beyond the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Institutions didn't always shine a light on the most relevant talents because they did not have the traditional credentials," he comments.

This project itself uses a novel approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most influential industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."