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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the rise of populist movements, the backlash against social awareness, and the reassertion of traditional beauty standards. In place of the hope of the late 90s, currently a different political force stands as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the response has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from music.

"Those in a position of influence should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this phase will fade."

Hope in the Next Generation

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

Those early experiences would forge a groundbreaking career marked by fearlessness and diversity. 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 Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales grew.

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

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim 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 doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."

Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to challenges, including openly discussed battles with mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has propelled him away from the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Institutions often failed to promote the right artists because they weren't of the right pedigree," he comments.

The magazine 72 itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most respected industry leaders. His path, he states, is a testament to the power of pursuing your passions.

How would the Enninful of that era think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."