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

A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, 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 recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political force looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from literature.

"People with a voice should employ it," he asserts, 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 refuge and an opportunity. That’s the Britain I cherished. I trust this phase will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would shape a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity between worlds."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has included its share of adversity, including openly discussed battles with depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has led him beyond the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"Institutions often failed to promote the truly innovative creators because they weren't of the right pedigree," he comments.

This venture itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era think of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."