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

An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is hard to ignore: the rise of populist movements, the pushback against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the previous decade, now a more divisive political personality looms as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again.

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, featuring a diverse array of cultural icons from literature.

"Individuals with a platform should wield it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this phase will end."

Hope in the Next Generation

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

The beginnings of his career would define a trailblazing career marked by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to hardship, including well-documented struggles with depression and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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 fashion person."

A Foray into Curation

This drive to fit into a box has propelled him outside the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"The establishment sometimes neglected to promote the truly innovative creators because they did not have the expected background," he states.

The magazine 72 itself operates on a different approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most influential cultural influencers. His journey, he states, is a testament to the power of following your instincts.

What would the Edward of the 90s react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."