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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a different political force appears as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the antidote has consistently been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from literature.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will end."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career marked by fearlessness and diversity. 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 landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has involved hardship, including well-documented battles with mental health and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has inspired him away from the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

"Institutions often failed to shine a light on the most relevant talents because they weren't of the expected background," he comments.

This project itself uses a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a testament to the power of defying expectations.

What would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."