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 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds sentimental, he is in good company. Recently, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, today a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the response has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from art.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this phase will pass."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would shape a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and exudes calm. His journey has involved challenges, including publicly shared battles with depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has propelled him outside the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Galleries often failed to promote the most relevant talents because they did not have the traditional credentials," he states.

This project itself uses a unique business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most powerful industry leaders. His story, he states, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the man he has become? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

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 whole career. But nothing can stop me once I’ve set my intention to do something."