Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the rise of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has become contentious again.

According to Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from music.

"People with a voice should wield it," he comments, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this period will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would define a pioneering career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, 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 explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has not been immune to hardship, including well-documented battles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything 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 refusal to fit into a box has led him outside the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries often failed to shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.

The magazine 72 itself operates on a different 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 one component of a broader vision."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential industry leaders. His journey, he feels, is a demonstration to the power of defying expectations.

What would the younger Edward make of the his current self? He chuckles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."