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

A chance encounter on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the previous decade, currently a different political figure stands as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the response has always 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 snapshot of modern Britain, showcasing a diverse array of influential figures from politics.

"People with a voice should use it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career characterised by fearlessness and inclusivity. 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 time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people 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 emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His life has involved challenges, including openly discussed periods of depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him beyond the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"The establishment didn't always promote the most relevant talents because they weren't of the right pedigree," he observes.

This project itself uses a unique business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a testament to the power of defying expectations.

How would the Edward of the 90s think of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."