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

A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. 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 socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the return of narrow beauty standards. In place of the optimism of the previous decade, now a more divisive political figure stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from art.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this moment will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would shape a groundbreaking career built on boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His journey has involved hardship, including publicly shared battles with mental health and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, 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 fashion person."

Curating a Cultural Era

This determination to fit into a box has inspired him outside the world that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Institutions didn't always shine a light on the truly innovative creators because they weren't of the expected background," he comments.

This project itself functions with a unique business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of following your instincts.

What would the Edward of the 90s think of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we fled our country. 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 decided to do something."