Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"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 close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the resurgence of far-right politics, the pushback against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, now a different political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from art.

"People with a voice should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this period will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would shape a pioneering career characterised by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has included its share of adversity, including publicly shared battles with mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has propelled him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"The establishment often failed to celebrate the right artists because they lacked the right pedigree," he states.

This project itself functions with a different business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

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

What would the younger Edward think of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."