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

A serendipitous meeting during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the previous decade, today a different political figure stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has always been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from art.

"Individuals with a platform should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this phase will fade."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would define a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

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

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has not been immune to hardship, including openly discussed periods of mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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 fashion person."

A Foray into Curation

This drive to be defined narrowly has inspired him beyond the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

"Galleries sometimes neglected to celebrate the right artists because they lacked the right pedigree," he states.

This project itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

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

How would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."