Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the rise of populist movements, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the late 90s, today a different political personality stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from music.

"Individuals with a platform should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would shape a trailblazing career built on boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being on the inside and the outside."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His path has included its share of adversity, including openly discussed struggles with depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a dark place for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has led him beyond the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they lacked the traditional credentials," he comments.

This project itself operates on a novel approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential creative power brokers. His journey, he states, is a proof to the power of following your instincts.

How would the younger Edward react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."