Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the growth of populist movements, the pushback against progressive values, and the return of narrow beauty standards. In place of the hope of the late 90s, currently a different political personality appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from politics.

"Those in a position of influence should employ it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this phase will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would shape a pioneering career marked by boldness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to adversity, including publicly shared struggles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has led him outside the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they weren't of the traditional credentials," he comments.

This project itself uses a novel approach, eschewing 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 one component of a greater ecosystem."

Looking Forward Without Fear

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

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."