Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the rise of nationalist groups, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, today a more divisive political force appears as a potential leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has long been to promote culture in all its diversity. 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 diverse array of cultural icons from politics.

"Those in a position of influence should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would shape a trailblazing career marked by fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving 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 Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of adversity, including well-documented periods of depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him away from the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"The establishment often failed to shine a light on the most relevant talents because they did not have the right pedigree," he comments.

The magazine 72 itself uses a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected industry leaders. His path, he states, is a proof to the power of defying expectations.

What would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."