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

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital'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 time was the zenith of the Young British Artists – 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 yearn for that rawness."

While Enninful may seem wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the hope of the previous decade, currently a more divisive political personality appears as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the response has consistently been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from literature.

"Those in a position of influence should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this period will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would define a pioneering career built on boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider."

Defying the popular image of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has involved challenges, including openly discussed struggles with mental health and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has led him away from the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"The establishment often failed to promote the most relevant talents because they lacked the expected background," he observes.

This venture itself uses a novel approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected creative power brokers. His path, he believes, is a testament to the power of pursuing your passions.

What would the younger Edward think of the his current self? He chuckles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."