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

An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. 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 bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is difficult to overlook: the rise of far-right politics, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a different political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from art.

"People with a voice should wield it," he comments, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this period will end."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity between worlds."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of adversity, including openly discussed battles with depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has propelled him away from the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"Galleries often failed to shine a light on the right artists because they weren't of the traditional credentials," he states.

The magazine 72 itself uses a novel strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful cultural influencers. His path, he believes, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."