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

A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the resurgence of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political figure stands as a possible leader. Even, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the antidote has long been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from politics.

"Individuals with a platform should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."

Those early experiences would define a pioneering career marked by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

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

Beyond the Magazine World

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

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved hardship, including publicly shared periods of depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him away from the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Galleries often failed to promote the right artists because they weren't of the right pedigree," he observes.

This project itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era make of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."