Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the rise of populist movements, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political personality stands as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the solution has long been to promote 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 snapshot of modern Britain, including a wide range of cultural icons from literature.

"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open 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 pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider."

Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to hardship, including publicly shared periods of depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has led him outside the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

"The establishment didn't always promote the most relevant talents because they did not have the right pedigree," he comments.

The magazine 72 itself operates on a unique approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most influential cultural influencers. His path, he states, is a demonstration to the power of pursuing your passions.

What would the younger Edward think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."