Edward Enninful discusses 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 arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the growth of far-right politics, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, today a different political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has long been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from politics.

"People with a voice should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this period will pass."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would define a trailblazing career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

Defying the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has not been immune to adversity, including openly discussed battles with mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him beyond the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"Galleries often failed to celebrate the right artists because they weren't of the traditional credentials," he states.

This project itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most influential industry leaders. His story, he states, is a proof to the power of pursuing your passions.

How would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."