Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the growth of nationalist groups, the pushback against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the late 90s, currently a more divisive political force looms as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the response has always been to champion 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 portrait of modern Britain, showcasing a diverse array of cultural icons from politics.

"Individuals with a platform should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew.

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

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has included its share of adversity, including openly discussed periods of mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has inspired him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the right pedigree," he states.

This project itself uses a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential cultural influencers. His journey, he states, is a proof to the power of following your instincts.

What would the younger Edward react to the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."