Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the resurgence of nationalist groups, the pushback against progressive values, and the return of narrow beauty standards. Where once there was the hope of the late 90s, now a different political personality stands as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from art.

"Those in a position of influence should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I hope this phase will pass."

A New Wave of Consciousness

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

His formative years would shape a pioneering career characterised by boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has not been immune to hardship, including publicly shared struggles with depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has inspired him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"Galleries didn't always promote the right artists because they lacked the traditional credentials," he comments.

This venture itself functions with a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected creative power brokers. His path, he feels, is a testament to the power of defying expectations.

What would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."