Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, today a more divisive political figure stands as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has consistently been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from literature.

"Individuals with a platform should wield it," he comments, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will end."

Hope in the Next Generation

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

The beginnings of his career would shape a trailblazing career built on boldness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Critically, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to adversity, including openly discussed periods of depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has inspired him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Galleries often failed to promote the right artists because they weren't of the traditional credentials," he observes.

The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a proof to the power of following your instincts.

What would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."