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

A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. 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 hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the resurgence of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the Blair era, currently a different political force stands as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has long been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from politics.

"Individuals with a platform should use it," he asserts, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career built on boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His life has involved challenges, including openly discussed struggles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has propelled him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Galleries often failed to shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.

This venture itself uses a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

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

What would the younger Edward think of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."