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 course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears wistful, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, now a different political figure looms as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the solution has long been to celebrate 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, featuring a broad spectrum of influential figures from art.

"People with a voice should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will end."

The Younger Generation's Awareness

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

His formative years would shape a trailblazing career characterised by boldness and diversity. 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 leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded 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 established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being on the inside and the outside."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has involved hardship, including openly discussed battles with depression and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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 fit into a box has inspired him away from the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"The establishment didn't always celebrate the most relevant talents because they lacked the expected background," he observes.

The magazine 72 itself functions with a novel business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most influential cultural influencers. His story, he states, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s make of the his current self? He smiles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

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