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

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the zenith of the Britart scene – 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 great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is difficult to overlook: the growth of far-right politics, the reaction against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, today a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the solution 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 celebration of modern Britain, including a wide range of prominent faces from politics.

"Those in a position of influence should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will end."

Hope in the Next Generation

He finds hope in the younger generation: "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 forge a trailblazing career characterised by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Defying the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of challenges, including openly discussed struggles with depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 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 confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has led him outside the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"Galleries didn't always promote the right artists because they did not have the traditional credentials," he observes.

The magazine 72 itself functions with a different business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

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

How would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. 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 set my intention to do something."