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

An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the zenith 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 understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the late 90s, now a different political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

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 celebration of modern Britain, including a wide range of influential figures from politics.

"People with a voice should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a refuge 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 next generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would define a pioneering career marked by fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Defying the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His journey has included its share of adversity, including well-documented periods of depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, terrified I was going to go blind. 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 pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has inspired him outside the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"Institutions sometimes neglected to celebrate the right artists because they did not have the traditional credentials," he states.

This project itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential creative power brokers. His story, he feels, is a demonstration to the power of defying expectations.

How would the Enninful of that era react to the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."