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

A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "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."

While Enninful may seem wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the rise of nationalist groups, the pushback against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the late 90s, currently a different political personality appears as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has always been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from art.

"Those in a position of influence should employ it," he says, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will end."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would forge a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being 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 hardship, including openly discussed battles with mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has propelled him outside the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"Galleries didn't always shine a light on the truly innovative creators because they lacked the right pedigree," he states.

This project itself operates on a unique approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

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

What would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, 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. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."