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

A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the rise of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the late 90s, today a more divisive political personality appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has long been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from art.

"Those in a position of influence should wield it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will end."

Hope in the Next Generation

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

Those early experiences would forge a trailblazing career marked by fearlessness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

Defying the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to adversity, including well-documented battles with mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, 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."

A Foray into Curation

This determination to fit into a box has led him beyond the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Institutions often failed to shine a light on the truly innovative creators because they weren't of the traditional credentials," he observes.

The magazine 72 itself uses a novel approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential industry leaders. His story, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era make of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."