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 teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the rise of nationalist groups, the pushback against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, today a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has long been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from art.

"Those in a position of influence should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would define a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to challenges, including publicly shared struggles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, 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 figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has inspired him outside the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Institutions didn't always shine a light on the right artists because they lacked the traditional credentials," he observes.

The magazine 72 itself functions with a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

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

How would the Enninful of that era think of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."