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 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the resurgence of far-right politics, the pushback against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political personality stands as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to celebrate 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 celebration of modern Britain, showcasing a wide range of influential figures from politics.

"People with a voice should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this phase will end."

Hope in the Next Generation

He draws solace 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 trailblazing career built on boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and people 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 a poor strategy," he states.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, including publicly shared battles with mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has propelled him away from the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he states.

This project itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of defying expectations.

How would the Enninful of that era think of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."