Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds nostalgic, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, now a different political figure looms as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.

According to 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, featuring a diverse array of cultural icons from politics.

"Those in a position of influence should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would define a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Defying the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has included its share of challenges, including well-documented struggles with depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has propelled him beyond the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"Galleries didn't always shine a light on the right artists because they weren't of the traditional credentials," he observes.

This project itself uses a different approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of defying expectations.

How would the Edward of the 90s react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."