Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

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

Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the response has always been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from music.

"Those in a position of influence should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would define a trailblazing career built on boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since leaving 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 the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider."

Defying the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of challenges, including publicly shared periods of mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period 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 prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has propelled him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Galleries didn't always celebrate the most relevant talents because they lacked the right pedigree," he states.

The magazine 72 itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he feels, is a demonstration to the power of defying expectations.

What would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for 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 no obstacle is too great once I’ve set my intention to do something."