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

A chance encounter while riding the tube in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. However since that time, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the growth of far-right politics, the pushback against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, currently a different political force looms as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from art.

"Individuals with a platform should wield it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would define a trailblazing career characterised by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge 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, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved challenges, including well-documented struggles with mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, anxious 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 passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has led him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Galleries didn't always celebrate the truly innovative creators because they did not have the traditional credentials," he states.

This project itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful industry leaders. His story, he states, is a proof to the power of pursuing your passions.

What would the Enninful of that era react to the Edward of today? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."