Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. However since that time, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, today a different political force looms as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from music.

"Individuals with a platform should wield it," he says, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused 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 takes comfort in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including publicly shared battles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, 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."

The Tate Britain Exhibition

This drive to be typecast has propelled him away from the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Galleries sometimes neglected to promote the right artists because they did not have the right pedigree," he observes.

This project itself uses a novel business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected creative power brokers. His journey, he feels, is a testament to the power of following your instincts.

How would the Edward of the 90s react to the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."