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

An unexpected discovery while riding the tube in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is increasingly evident: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, now a different political personality looms as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has consistently been to promote 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 portrait of modern Britain, featuring a broad spectrum of prominent faces from music.

"People with a voice should wield it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this period will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.

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

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is calm and exudes calm. His life has involved adversity, including openly discussed struggles with depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity 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 determination to be defined narrowly has inspired him away from the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the right pedigree," he states.

This venture itself uses a unique business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he states, is a testament to the power of pursuing your passions.

How would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."