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

An unexpected discovery while riding the tube in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the growth of nationalist groups, the pushback against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the Blair era, today a different political figure looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the solution has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from politics.

"People with a voice should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity both an insider and outsider."

Defying the caricature of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has included its share of adversity, including openly discussed periods of mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him outside the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"Galleries didn't always promote the truly innovative creators because they lacked the expected background," he comments.

This venture itself operates on a unique business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected cultural influencers. His path, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era make of the man he has become? He chuckles. "He would be astonished, 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 adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."