Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art.

"People with a voice should employ it," he says, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this period will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

His formative years would shape a groundbreaking career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds."

Defying the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including publicly shared battles with mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has inspired him away from the world that established him. He is now organising a major 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 evoke the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Institutions often failed to celebrate the truly innovative creators because they lacked the traditional credentials," he comments.

The magazine 72 itself operates on a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful industry leaders. His story, he feels, is a testament to the power of following your instincts.

How would the Enninful of that era make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."