Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the growth of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the solution has consistently been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from music.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this phase will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales increased.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds."

Defying the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His path has not been immune to challenges, including openly discussed battles with depression and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has inspired him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"Galleries didn't always promote the right artists because they lacked the right pedigree," he states.

This venture itself uses a novel business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most respected creative power brokers. His path, he believes, is a proof to the power of following your instincts.

What would the younger Edward make of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."