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

A chance encounter while riding the tube in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the peak of the Young British Artists – 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 great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, today a more divisive political figure stands as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the antidote has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from literature.

"Individuals with a platform should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would shape a groundbreaking career marked by fearlessness and diversity. 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 tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has included its share of challenges, including well-documented periods of mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has inspired him outside the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to shine a light on the right artists because they did not have the right pedigree," he states.

The magazine 72 itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Today, Enninful operates as one of the world's most respected creative power brokers. His path, he states, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."