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 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the resurgence of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a more divisive political personality stands as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the response has consistently been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from art.

"Individuals with a platform should employ it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would shape a pioneering career built on fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to challenges, including well-documented battles with mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable 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 limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has led him beyond the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential 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 a spotlight at the time.

"Galleries often failed to celebrate the right artists because they weren't of the expected background," he states.

This venture itself functions with a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected creative power brokers. His story, he believes, is a testament to the power of defying expectations.

How would the Enninful of that era think of the man he has become? He smiles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."