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

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

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

While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the growth of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, currently a different political personality appears as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the antidote has long been to champion 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 celebration of modern Britain, including a diverse array of prominent faces from politics.

"People with a voice should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this phase will pass."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career built on fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being between worlds."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is calm and projects peace. His journey has not been immune to hardship, including openly discussed periods of mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him away from the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"Institutions sometimes neglected to shine a light on the right artists because they lacked the traditional credentials," 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 create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential industry leaders. His journey, he feels, is a proof to the power of following your instincts.

What would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."