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

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

If Enninful sounds sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, now a different political force stands as a possible leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from politics.

"Individuals with a platform should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this period will end."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would forge a groundbreaking career characterised by boldness and representation. 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, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from 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 the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Defying the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to challenges, including well-documented battles with depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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 figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has led him away from the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"Institutions often failed to shine a light on the truly innovative creators because they did not have the right pedigree," he states.

This venture itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of following your instincts.

What would the younger Edward make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."