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 course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

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

If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, today a more divisive political personality looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from art.

"Individuals with a platform should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will pass."

The Younger Generation's Awareness

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

Those early experiences would forge a groundbreaking career built on boldness and inclusivity. 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 tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including well-documented periods of depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has propelled him beyond the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together 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 give platform to those who lacked adequate attention at the time.

"The establishment didn't always shine a light on the right artists because they lacked the right pedigree," he states.

This project itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most respected creative power brokers. His path, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."