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

An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the rise of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, currently a different political figure stands as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from art.

"Individuals with a platform should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade."

Hope in the Next Generation

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

His formative years would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants 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 president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds."

Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to hardship, including publicly shared struggles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to 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 confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has inspired him outside the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"The establishment often failed to promote the most relevant talents because they weren't of the expected background," he states.

This venture itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential creative power brokers. His story, he feels, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s react to the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."