Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the resurgence of far-right politics, the backlash against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the Blair era, now a different political figure appears as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the antidote has long been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from music.

"People with a voice should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this period will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would define a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being between worlds."

Defying the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including openly discussed struggles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has inspired him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"The establishment often failed to shine a light on the most relevant talents because they lacked the expected background," he comments.

This project itself functions with a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he believes, is a testament to the power of defying expectations.

How would the Enninful of that era think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."