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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds wistful, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the rise of nationalist groups, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political personality appears as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has long been to celebrate 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 snapshot of modern Britain, showcasing a broad spectrum of influential figures from literature.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will fade."

The Younger Generation's Awareness

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

Those early experiences would shape a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His path has included its share of challenges, including openly discussed battles with depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to 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 afraid 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 be defined narrowly has led him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Institutions didn't always promote the right artists because they did not have the traditional credentials," he observes.

This venture itself operates on a unique business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of following your instincts.

What would the younger Edward make of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."