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

A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This change is increasingly evident: the growth of populist movements, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a different political figure stands as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has consistently been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from politics.

"People with a voice should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this period will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would define a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales grew.

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

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has involved hardship, including publicly shared periods of depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has inspired him beyond the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

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

This project itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful industry leaders. His path, he states, is a proof to the power of defying expectations.

What would the younger Edward react to the Edward of today? He laughs heartily. "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 necessarily for me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."