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

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

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

If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure stands as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from art.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this phase will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose.

"Ignoring large portions 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 recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, 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 … all that gave me a sense of being on the inside and the outside."

Defying the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including openly discussed periods of depression and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to 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 afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has propelled him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"Galleries often failed to shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments.

The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His story, he states, is a testament to the power of following your instincts.

How would the younger Edward react to the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."