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

An unexpected discovery on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. 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 rolled into Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful feels 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 everywhere."

A Perceived Regression

This change is hard to ignore: the growth of populist movements, the pushback against social awareness, and the return of narrow beauty standards. In place of the optimism of the previous decade, now a more divisive political figure looms as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the response has always been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from music.

"Those in a position of influence should use it," he comments, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this period will end."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would shape a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to adversity, including publicly shared periods of depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has led him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they lacked the traditional credentials," he states.

This project itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most respected industry leaders. His story, he believes, is a demonstration to the power of defying expectations.

How would the Enninful of that era react to the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."