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

An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the growth of nationalist groups, the reaction against social awareness, and the return of traditional beauty standards. Replacing the hope of the previous decade, currently a more divisive political force looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has always been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from art.

"People with a voice should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up 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 incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being between worlds."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including publicly shared struggles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has inspired him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"Galleries sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he comments.

This project itself operates on a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most influential industry leaders. His path, he states, is a proof to the power of pursuing your passions.

What would the Enninful of that era think of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."