Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery during a tube journey in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from music.

"People with a voice should use it," he comments, explaining 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 home and an opportunity. That’s the Britain I believed in. I believe this moment will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and inclusivity. Enninful made history 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 time featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective 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 projects peace. His journey has included its share of adversity, including openly discussed periods of mental health and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to go blind. It’s like 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 figure in fashion."

A Foray into Curation

This refusal to be typecast has propelled him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Institutions didn't always promote the right artists because they did not have the expected background," he comments.

The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful industry leaders. His path, he feels, is a testament to the power of following your instincts.

How would the Edward of the 90s make of the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."