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

A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the growth of far-right politics, the backlash against social awareness, and the return of traditional beauty standards. Replacing the hope of the Blair era, today a more divisive political personality appears as a possible leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has long been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from art.

"People with a voice should employ it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to adversity, including openly discussed struggles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has led him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he observes.

The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most respected cultural influencers. His story, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s think of the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We fled, we fled our country. 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 made up my mind to do something."