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

A chance encounter 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 city's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears wistful, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, today a different political figure appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

For Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle 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 music.

"People with a voice should use it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this period will end."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would define a pioneering career built on fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of challenges, including well-documented struggles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has propelled him beyond the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Institutions sometimes neglected to celebrate the right artists because they weren't of the right pedigree," he observes.

This project itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful cultural influencers. His path, he states, is a testament to the power of following your instincts.

What would the Enninful of that era make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."