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 trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the rise of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. In place of the hope of the previous decade, now a different political figure stands as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the response has consistently been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from art.

"Individuals with a platform should employ it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this moment will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a pioneering career characterised by fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including openly discussed periods of mental health 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 go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, 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."

A Foray into Curation

This refusal to be defined narrowly has propelled him away from the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Galleries didn't always shine a light on the right artists because they did not have the right pedigree," he states.

This venture itself functions with a unique approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful creative power brokers. His story, he believes, is a proof to the power of following your instincts.

What would the Enninful of that era think of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."