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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. 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 socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the previous decade, currently a more divisive political personality stands as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the solution has consistently been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from politics.

"People with a voice should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this period will fade."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would forge a pioneering career built on boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His path has not been immune to adversity, including publicly shared periods of mental health and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has led him away from the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he comments.

The magazine 72 itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts.

How would the Enninful of that era think of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."