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

An unexpected discovery while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the growth of nationalist groups, the backlash against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, currently a more divisive political figure looms as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution has long been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from art.

"Individuals with a platform should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this period will fade."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would define a trailblazing career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"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 flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of hardship, including well-documented struggles with mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has propelled him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he comments.

The magazine 72 itself operates on a different business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a testament to the power of pursuing your passions.

How would the Edward of the 90s react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."