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

An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the rise of populist movements, the pushback against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, today a more divisive political figure appears as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has long been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from music.

"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including publicly shared periods of mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has led him away from the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the traditional credentials," he observes.

This venture itself operates on a novel business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions.

What would the Enninful of that era think of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."