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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, now a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

According to Enninful, the solution has consistently been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from literature.

"People with a voice should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned 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, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to hardship, including well-documented battles with depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has propelled him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he observes.

This project itself uses a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of following your instincts.

How would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."