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

An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful feels a noticeable regression. "I believe, 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 shift is increasingly evident: the rise of populist movements, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, now a different political personality stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from art.

"People with a voice should wield it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this phase will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would define a pioneering career characterised by boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective both an insider and outsider."

Defying the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His journey has involved challenges, including publicly shared struggles with mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. 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 do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has inspired him outside the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"Institutions often failed to shine a light on the right artists because they lacked the expected background," he observes.

The magazine 72 itself operates on a different business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a testament to the power of pursuing your passions.

How would the younger Edward think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."