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

A chance encounter 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 buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, today a more divisive political personality looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from literature.

"Individuals with a platform should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this phase will pass."

Hope in the Next Generation

He finds hope 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 shape a pioneering career built on fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said 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 both an insider and outsider."

Defying the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has included its share of adversity, including well-documented battles with depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, 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 fashion person."

A Foray into Curation

This determination to be defined narrowly has inspired him beyond the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they weren't of the right pedigree," he states.

This project itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected cultural influencers. His path, he believes, is a testament to the power of pursuing your passions.

What would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."