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

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

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

While Enninful may seem wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the previous decade, now a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

For Enninful, the response has always been to celebrate 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 portrait of modern Britain, including a diverse array of influential figures from politics.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this phase will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would shape a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has involved adversity, including well-documented periods of depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, 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 figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has inspired him away from the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"The establishment didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he states.

This venture itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected creative power brokers. His path, he believes, is a proof to the power of defying expectations.

What would the Enninful of that era make of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."