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

A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

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

While Enninful may seem nostalgic, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the rise of populist movements, the pushback against progressive values, and the return of traditional beauty standards. In place of the hope of the previous decade, now a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the response has consistently been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from music.

"Those in a position of influence should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will pass."

The Younger Generation's Awareness

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would define a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including publicly shared struggles with mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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 refusal to fit into a box has led him away from the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"The establishment often failed to shine a light on the most relevant talents because they weren't of the right pedigree," he comments.

This project itself functions with a novel business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most influential cultural influencers. His path, he feels, is a proof to the power of defying expectations.

How would the Edward of the 90s make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."