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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the previous decade, today a different political personality looms as a potential leader. Even, the British flag, once an symbol of national pride, has become contentious again.

In Enninful's view, the antidote has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from music.

"Individuals with a platform should use it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would define a pioneering career built on boldness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

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

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

Defying the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of challenges, including well-documented struggles with depression and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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."

A Foray into Curation

This drive to be typecast has inspired him beyond the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"The establishment didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he comments.

This venture itself functions with a novel approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected creative power brokers. His journey, he feels, is a testament to the power of following your instincts.

What would the Edward of the 90s think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."