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

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the growth of far-right politics, the pushback against social awareness, and the reassertion of traditional beauty standards. In place of the optimism of the previous decade, today a more divisive political force looms as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has consistently been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from art.

"Individuals with a platform should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this period will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a pioneering career marked by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to hardship, including well-documented struggles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity 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 determination to be typecast has inspired him beyond the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.

"Galleries often failed to promote the right artists because they lacked the traditional credentials," he comments.

The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of defying expectations.

What would the younger Edward react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."