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

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the resurgence of far-right politics, the pushback against progressive values, and the return of narrow beauty standards. Replacing the optimism of the late 90s, today a different political force looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from music.

"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would shape a pioneering career marked by boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Critically, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including well-documented struggles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"Institutions didn't always celebrate the right artists because they lacked the expected background," he states.

This project itself operates on a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a demonstration to the power of following your instincts.

What would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

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