Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication 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 hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the growth of nationalist groups, the backlash against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political force looms as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.

According to Enninful, the solution has always been to promote 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 wide range of prominent faces from music.

"Individuals with a platform should employ it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will pass."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career built on fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His path has included its share of challenges, including well-documented struggles with mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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 fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him outside the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"Institutions didn't always shine a light on the right artists because they did not have the traditional credentials," he observes.

The magazine 72 itself uses a novel business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful creative power brokers. His journey, he believes, is a proof to the power of following your instincts.

What would the Enninful of that era make of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."