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

A serendipitous meeting on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a different political force appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

According to Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from politics.

"Individuals with a platform should employ it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will pass."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would forge a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.

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

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being between worlds."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His life has not been immune to challenges, including openly discussed periods of mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has led him away from the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who lacked due recognition at the time.

"Institutions didn't always promote the right artists because they did not have the right pedigree," he observes.

The magazine 72 itself functions with a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he states, is a testament to the power of following your instincts.

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

He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."