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

A serendipitous meeting while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the rise of far-right politics, the reaction against social awareness, and the reinforcement of narrow 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 emblem of national pride, has returned as a polarising symbol.

According to Enninful, the response has consistently been to celebrate 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 celebration of modern Britain, including a wide range of prominent faces from politics.

"Those in a position of influence should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would forge a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being on the inside and the outside."

Defying the caricature of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His journey has not been immune to challenges, including well-documented struggles with mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"Galleries often failed to promote the right artists because they weren't of the traditional credentials," he observes.

This project itself functions with a different strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era think of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."