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

A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

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

While Enninful may seem wistful, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the resurgence of far-right politics, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, now a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has always been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from art.

"Those in a position of influence should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this period will pass."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective between worlds."

Defying the popular image of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to adversity, including openly discussed struggles with mental health and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has led him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they weren't of the traditional credentials," he observes.

The magazine 72 itself uses a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s make of the man he has become? He smiles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."