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

A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation 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. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, now a more divisive political figure looms as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.

For Enninful, the antidote has consistently been to promote culture in all its diversity. 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 prominent faces from politics.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this moment will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would forge a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales increased.

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

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has involved challenges, including well-documented periods of depression and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 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 fashion person."

The Tate Britain Exhibition

This drive to fit into a box has led him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"Galleries didn't always promote the truly innovative creators because they lacked the right pedigree," he states.

This venture itself functions with a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a testament to the power of pursuing your passions.

What would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

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 underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."