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

An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is hard to ignore: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, now a different political figure stands as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has consistently been to celebrate 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 snapshot of modern Britain, showcasing a wide range of prominent faces from politics.

"Individuals with a platform should use it," he says, discussing those editorial decisions. "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 refuge and an education. That’s the Britain I cherished. I trust this period will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His path has included its share of adversity, including openly discussed struggles with mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 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 limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has inspired him away from the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"Institutions often failed to promote the truly innovative creators because they weren't of the traditional credentials," he comments.

This project itself uses a different business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s react to the man he has become? He chuckles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."