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

A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the resurgence of far-right politics, the reaction against social awareness, and the return of narrow beauty standards. Where once there was the hope of the Blair era, currently a different political force stands as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

According to Enninful, the antidote has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from art.

"People with a voice should wield 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 did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would forge a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has involved adversity, including publicly shared battles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear 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 vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has propelled him away from the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they lacked the right pedigree," he comments.

The magazine 72 itself functions with a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

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

How would the younger Edward react to the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."