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 young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, now a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again.

According to Enninful, the solution has long been to promote culture in all its diversity. 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 wield it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would define a pioneering career marked by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has not been immune to hardship, including publicly shared struggles with mental health and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be typecast has inspired him beyond the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

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

The magazine 72 itself functions with a unique business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential industry leaders. His journey, he feels, is a testament to the power of following your instincts.

How would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."