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 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

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

Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, today a more divisive political force stands as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has long been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from literature.

"Individuals with a platform should use 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 refused my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His life has involved adversity, including well-documented battles with mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, 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."

The Tate Britain Exhibition

This determination to be typecast has led him beyond the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"The establishment often failed to promote the most relevant talents because they lacked the traditional credentials," he comments.

This venture itself operates on a unique business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he states, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. 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 lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."