Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, now a different political figure looms as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the solution has consistently been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from politics.

"Individuals with a platform should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "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 groundbreaking career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His life has involved challenges, including openly discussed struggles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has led him beyond the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"Institutions didn't always shine a light on the right artists because they lacked the right pedigree," he comments.

This venture itself uses a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected cultural influencers. His story, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."