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

An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the peak 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 understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is hard to ignore: the rise of far-right politics, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a different political force stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has always been to promote 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, featuring a wide range of influential figures from art.

"Individuals with a platform should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this moment will fade."

Hope in the Next Generation

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would shape a pioneering career built on boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew.

"To overlook 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 since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved hardship, including well-documented periods of depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has inspired him beyond the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"Institutions often failed to celebrate the right artists because they lacked the expected background," he states.

This venture itself operates on a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential cultural influencers. His story, he feels, is a proof to the power of pursuing your passions.

How would the younger Edward think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."