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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the rise of nationalist groups, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the late 90s, currently a different political figure appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

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

"Those in a position of influence should employ it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this period will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would shape a trailblazing career characterised by fearlessness and representation. 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 models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity between worlds."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has involved hardship, including publicly shared battles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit 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 beyond the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"The establishment didn't always promote the most relevant talents because they weren't of the expected background," he states.

This project itself uses a unique business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

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

How would the Edward of the 90s make of the his current self? He chuckles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."