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

A serendipitous meeting during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the growth of nationalist groups, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a different political force stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the response has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from literature.

"People with a voice should use it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this period will end."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

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

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, 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 suspicion laws … this duality gave me a unique perspective between worlds."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved adversity, including publicly shared periods of depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid 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 fit into a box has led him away from the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Institutions didn't always celebrate the most relevant talents because they did not have the expected background," he states.

This project itself functions with a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."