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

A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, 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 states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the growth of populist movements, the reaction against social awareness, and the return of traditional beauty standards. Replacing the hope of the Blair era, today a more divisive political force stands as a potential leader. Furthermore, the British flag, once an badge of national pride, has become contentious again.

For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from literature.

"Individuals with a platform should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would forge a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, 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 … this duality gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has not been immune to challenges, including openly discussed periods of mental health and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, 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 fashion person."

Curating a Cultural Era

This determination to fit into a box has led him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal 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 often failed to shine a light on the right artists because they weren't of the right pedigree," he observes.

The magazine 72 itself operates on a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."