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

A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the return of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a different political force stands as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

In Enninful's view, the solution has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from art.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this moment will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has not been immune to hardship, including well-documented struggles with depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has propelled him outside the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

"The establishment didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he observes.

This project itself operates on a different business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful industry leaders. His path, he feels, is a proof to the power of defying expectations.

How would the younger Edward make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."