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

A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political figure appears as a potential leader. Even, the British flag, once an symbol of national pride, has become contentious again.

For Enninful, the response has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from literature.

"Those in a position of influence should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would define a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has not been immune to adversity, including well-documented battles with depression and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him outside the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to celebrate the right artists because they did not have the traditional credentials," he states.

This project itself operates on a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

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

What would the Edward of the 90s think of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."