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

A chance encounter on the London Underground in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political personality stands as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from music.

"Those in a position of influence should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this moment will fade."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would shape a trailblazing career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has included its share of adversity, including publicly shared battles with depression and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured 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 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 be defined narrowly has propelled him outside the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.

"Galleries didn't always celebrate the right artists because they weren't of the right pedigree," he observes.

The magazine 72 itself uses a novel strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful industry leaders. His path, he states, is a demonstration to the power of following your instincts.

How would the Edward of the 90s make of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."