Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It 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 knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the rise of far-right politics, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a different political figure stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

In Enninful's view, the response has always been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from literature.

"Individuals with a platform should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales grew.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His journey has involved challenges, including publicly shared struggles with mental health and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has led him outside the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"Galleries sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he comments.

This project itself operates on a novel business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful cultural influencers. His journey, he believes, is a testament to the power of following your instincts.

How would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."