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

A chance encounter on the London Underground in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the rise of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a different political figure appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

For Enninful, the solution has consistently been to celebrate culture in all its variety. This was the driving force 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 art.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this phase will pass."

A New Wave of Consciousness

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

The beginnings of his career would shape a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the doctors, 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 never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of challenges, including openly discussed struggles with mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries 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 go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him outside the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

"Galleries didn't always shine a light on the right artists because they weren't of the expected background," he states.

This project itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a demonstration to the power of defying expectations.

How would the Edward of the 90s react to the man he has become? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."