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

A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the height of the YBA movement – 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 kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the rise of populist movements, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, today a more divisive political force appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from music.

"Individuals with a platform should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will fade."

A New Wave of Consciousness

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

His formative years would forge a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of challenges, including well-documented struggles with mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, away from work, anxious 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 passes, I’m just going to pursue all that I was so scared 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 fit into a box has led him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Galleries didn't always celebrate the truly innovative creators because they weren't of the expected background," he observes.

The magazine 72 itself operates on a novel business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected industry leaders. His story, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I never imagined 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 counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."