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

An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, now a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from literature.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this moment will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career characterised by fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including well-documented struggles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has led him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"The establishment didn't always shine a light on the most relevant talents because they weren't of the right pedigree," he states.

The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential industry leaders. His journey, he believes, is a proof to the power of following your instincts.

What would the younger Edward make of the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."