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

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the peak of the YBA movement – 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 great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, today a different political figure appears as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from music.

"Those in a position of influence should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a trailblazing career built on boldness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.

"To overlook 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 established his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity on the inside and the outside."

Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to adversity, including publicly shared periods of mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, 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 limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has propelled him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to celebrate the right artists because they lacked the right pedigree," he observes.

This venture itself uses a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful industry leaders. His path, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."