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

A chance encounter while riding the tube in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the growth of populist movements, the backlash against progressive values, and the return of narrow beauty standards. In place of the optimism of the previous decade, today a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has consistently been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from politics.

"Those in a position of influence should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this period will pass."

The Younger Generation's Awareness

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

Those early experiences would forge a pioneering career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

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

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has not been immune to challenges, including well-documented struggles with depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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 figure in fashion."

A Foray into Curation

This drive to be defined narrowly has led him beyond the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"Institutions often failed to celebrate the truly innovative creators because they weren't of the right pedigree," he comments.

This project itself operates on a different approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential cultural influencers. His story, he states, is a testament to the power of pursuing your passions.

What would the Enninful of that era think of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."