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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – 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 close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political force stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the solution has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from music.

"People with a voice should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this period will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

His formative years would shape a groundbreaking career built on boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.

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

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including well-documented struggles with mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period 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 do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has propelled him beyond the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"Galleries sometimes neglected to promote the right artists because they weren't of the traditional credentials," he observes.

The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential cultural influencers. His journey, he states, is a testament to the power of defying expectations.

How would the Enninful of that era react to the his current self? He smiles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."