Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "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 fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the hope of the previous decade, now a different political figure appears as a possible leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from politics.

"Those in a position of influence should wield it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would shape a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the stereotype of industry figures as loud and highly strung, Enninful is calm and projects peace. His life has involved adversity, including well-documented battles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him outside the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Galleries didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he observes.

This venture itself uses a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."