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

An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the growth of nationalist groups, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, today a different political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from music.

"People with a voice should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will fade."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would define a trailblazing career built on boldness and representation. Enninful broke barriers 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 time featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to adversity, including well-documented battles with mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him outside the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"Galleries didn't always promote the right artists because they did not have the right pedigree," he comments.

This venture itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful industry leaders. His path, he states, is a testament to the power of following your instincts.

How would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."