Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the peak 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 knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of nationalist groups, the pushback against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the previous decade, today a different political figure appears as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has always been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from politics.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will end."

A New Wave of Consciousness

He takes comfort 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 forge a trailblazing career characterised by fearlessness and representation. Enninful made history 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, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has included its share of adversity, including well-documented struggles with mental health and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has inspired him outside the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"The establishment didn't always promote the right artists because they did not have the traditional credentials," he observes.

This project itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential creative power brokers. His path, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s react to the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."