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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I met 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."

While Enninful may seem wistful, he is far from alone. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has always been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from literature.

"Those in a position of influence should employ it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this moment will fade."

Hope in the Next Generation

He draws solace in the younger generation: "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 groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. 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 stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including well-documented struggles with depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has propelled him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to promote the most relevant talents because they lacked the expected background," he states.

This project itself functions with a novel approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions.

What would the younger Edward think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

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