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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, now a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has long been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from literature.

"Those in a position of influence should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would shape a pioneering career marked by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

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 "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including publicly shared struggles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, 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 fashion person."

Curating a Cultural Era

This drive to be defined narrowly has propelled him outside the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"The establishment often failed to promote the right artists because they did not have the traditional credentials," he states.

The magazine 72 itself uses a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

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

What would the Edward of the 90s make of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."