Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is increasingly evident: the rise of nationalist groups, the pushback against progressive values, and the return of narrow beauty standards. Where once there was the hope of the previous decade, today a different political force looms as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has always been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from art.

"Individuals with a platform should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this moment will pass."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would define a trailblazing career characterised by fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has involved hardship, including publicly shared struggles with mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has propelled him away from the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Institutions sometimes neglected to promote the right artists because they lacked the right pedigree," he observes.

This project itself uses a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential industry leaders. His journey, he states, is a demonstration to the power of following your instincts.

What would the younger Edward react to the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."