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

A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

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

Although Enninful appears sentimental, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the growth of populist movements, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force stands as a possible leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has long been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from music.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this period will fade."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would forge a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being between worlds."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including openly discussed periods of mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has led him outside the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"Galleries didn't always shine a light on the truly innovative creators because they lacked the right pedigree," he comments.

This venture itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential creative power brokers. His path, he states, is a testament to the power of defying expectations.

How would the younger Edward react to the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly 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."