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

A serendipitous meeting during a tube journey in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the resurgence of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the optimism of the late 90s, now a more divisive political force stands as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again.

For Enninful, the solution has always been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from music.

"Those in a position of influence should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."

His formative years would shape a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His path has included its share of adversity, including publicly shared battles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has inspired him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"Institutions didn't always shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments.

The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected industry leaders. His path, he believes, is a testament to the power of following your instincts.

What would the younger Edward make of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."