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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

Although Enninful appears sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the growth of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this period will end."

Hope in the Next Generation

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

His formative years would define a pioneering career marked by boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including well-documented struggles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, terrified 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 is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"Galleries didn't always celebrate the right artists because they weren't of the traditional credentials," he states.

This venture itself uses a novel approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

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

What would the Enninful of that era make of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."