Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the zenith 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 felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a profound shift. "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."

A Perceived Regression

This regression is increasingly evident: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. Replacing the hope of the previous decade, now a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from art.

"Individuals with a platform should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this phase will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has included its share of adversity, including publicly shared struggles with mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a dark place for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has inspired him outside the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.

"Galleries didn't always promote the most relevant talents because they weren't of the right pedigree," he observes.

This project itself operates on a novel business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of following your instincts.

How would the Edward of the 90s think of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."