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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the hope of the previous decade, currently a different political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has consistently been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from literature.

"People with a voice should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will pass."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would define a pioneering career built on boldness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His path has not been immune to challenges, including openly discussed periods of depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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."

A Foray into Curation

This determination to be typecast has inspired him outside the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they weren't of the expected background," he comments.

This project itself functions with a unique approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

How would the Enninful of that era think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."