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 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the zenith 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 understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the rise of far-right politics, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political personality looms as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

According to Enninful, the solution has always been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from art.

"People with a voice should use it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this phase will pass."

A New Wave of Consciousness

He draws solace in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would define a groundbreaking career built on boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. 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 both an insider and outsider."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His path has not been immune to adversity, including openly discussed struggles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, fearing 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 pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him away from the industry that built his career. He is now curating a major 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 interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"The establishment often failed to promote the most relevant talents because they did not have the expected background," he observes.

The magazine 72 itself functions with a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most influential creative power brokers. His story, he believes, is a proof to the power of pursuing your passions.

How would the Edward of the 90s react to the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."