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

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

Although Enninful appears wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the rise of nationalist groups, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has consistently been to promote culture in all its variety. 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 diverse array of influential figures from art.

"Individuals with a platform should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this period will end."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would forge a trailblazing career characterised by fearlessness and diversity. 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 diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has involved hardship, including publicly shared periods of depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him outside the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.

"Galleries often failed to promote the truly innovative creators because they weren't of the traditional credentials," he states.

This project itself functions with a novel business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he states, is a proof to the power of following your instincts.

What would the Edward of the 90s react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."