Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the late 90s, now a more divisive political figure stands as a possible leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has always been to celebrate 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 snapshot of modern Britain, showcasing a wide range of cultural icons from literature.

"Those in a position of influence should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will pass."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

His formative years would define a trailblazing career marked by boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His life has included its share of adversity, including openly discussed periods of mental health and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable 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 scared 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 propelled him away from the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"Institutions didn't always promote the truly innovative creators because they lacked the right pedigree," he comments.

This venture itself functions with a unique approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of following your instincts.

How would the younger Edward make of the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."