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

An unexpected discovery on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the resurgence of far-right politics, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the late 90s, now a different political figure stands as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the solution has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from politics.

"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this phase will end."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."

His formative years would forge a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the popular image of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His path has not been immune to hardship, including publicly shared battles with depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared 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 propelled him beyond the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Institutions often failed to shine a light on the right artists because they did not have the right pedigree," he observes.

The magazine 72 itself uses a unique approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

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

What would the Enninful of that era make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."