Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

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

If Enninful sounds wistful, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the resurgence of far-right politics, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the Blair era, today a different political force appears as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from literature.

"People with a voice should use it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will fade."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would forge a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His path has involved hardship, including publicly shared battles with depression and addiction.

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

The Tate Britain Exhibition

This refusal to fit into a box has led him beyond the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"The establishment often failed to shine a light on the most relevant talents because they weren't of the expected background," he comments.

This venture itself operates on a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful creative power brokers. His path, he feels, is a proof to the power of defying expectations.

What would the Enninful of that era think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "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 whole career. But I am unstoppable once I’ve made up my mind to do something."