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

A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the height 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 knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, currently a different political force appears as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again.

For Enninful, the response has consistently been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from literature.

"Individuals with a platform should use it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this period will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would forge a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of hardship, including well-documented struggles with mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 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 confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has inspired him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they did not have the expected background," he comments.

This project itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a demonstration to the power of following your instincts.

How would the younger Edward think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."