Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the resurgence of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. In place of the optimism of the Blair era, today a more divisive political figure stands as a possible leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

For Enninful, the antidote has long been to champion culture in all its multifaceted forms. 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 diverse array of prominent faces from music.

"Those in a position of influence should wield it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."

His formative years would define a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is calm and projects peace. His life has involved challenges, including publicly shared periods of mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has propelled him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.

"Institutions didn't always promote the right artists because they weren't of the expected background," he states.

This venture itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected cultural influencers. His path, he believes, is a proof to the power of defying expectations.

What would the Edward of the 90s react to the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."