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

An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the resurgence of far-right politics, the pushback against progressive values, and the return of narrow beauty standards. Replacing the optimism of the late 90s, currently a more divisive political figure stands as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from art.

"Those in a position of influence should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will end."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would shape a groundbreaking career built on fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of hardship, including openly discussed struggles with mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has led him outside the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they did not have the traditional credentials," he comments.

This project itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential industry leaders. His journey, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward think of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."