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

An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the previous decade, currently a different political force appears as a potential leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the response has long been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from art.

"Individuals with a platform should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this moment will fade."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would define a trailblazing career characterised by boldness and inclusivity. 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 tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds."

Defying the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has involved hardship, including well-documented struggles with mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him away from the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

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

This project itself functions with a unique business model, eschewing 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."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of defying expectations.

What would the younger Edward react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."