Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

An unexpected discovery while riding the tube in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives 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 nationalist groups, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a different political force looms as a possible leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the solution has consistently been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from music.

"Individuals with a platform should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, 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 have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His path has included its share of adversity, including well-documented struggles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"Institutions often failed to celebrate the right artists because they weren't of the traditional credentials," he comments.

This venture itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of pursuing your passions.

What would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."