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

A chance encounter during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a different political personality appears as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has consistently been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from music.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would define a pioneering career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"When you ignore large portions 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 since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has involved adversity, including well-documented periods of depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him away from the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he states.

This project itself functions with a different business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful cultural influencers. His path, he feels, is a proof to the power of defying expectations.

What would the Enninful of that era think of the man he has become? He smiles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I almost 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 made up my mind to do something."