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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a different political force looms as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from art.

"People with a voice should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will end."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career characterised by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Defying the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to hardship, including publicly shared battles with depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "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 prayed, if this ever ends, I’m just going to pursue all 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 drive to be typecast has propelled him beyond the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal 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 lacked due recognition at the time.

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

This venture itself uses a novel approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

How would the Edward of the 90s make of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."