Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, today a more divisive political force looms as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from politics.

"Those in a position of influence should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position 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 trust this phase will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would shape a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.

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

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Defying the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has involved hardship, including publicly shared periods of depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has inspired him away from the world that made his name. He is now curating a major 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 interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"The establishment didn't always promote the truly innovative creators because they weren't of the expected background," he observes.

This project itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a demonstration to the power of following your instincts.

What would the Edward of the 90s react to the his current self? He chuckles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "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 doubted me my whole career. But nothing can stop me once I’ve decided to do something."