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

An unexpected discovery on the London Underground in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

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

If Enninful sounds wistful, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the resurgence of far-right politics, the backlash against progressive values, and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, now a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution has consistently been to champion culture in all its diversity. 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 wide range of influential figures from music.

"People with a voice should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this moment will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would forge a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

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

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. 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 harassed under the Sus laws … this duality gave me a sense of being between worlds."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of adversity, including openly discussed periods of mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has propelled him away from the world that made his name. He is now curating a seminal 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 highlight those who lacked due recognition at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he states.

This venture itself operates on a novel business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

How would the Edward of the 90s react to the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."