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

An unexpected discovery while riding the tube in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

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

If Enninful sounds sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the rise of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, now a more divisive political force appears as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

According to Enninful, the solution has consistently been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from music.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this period will end."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would define a pioneering career marked by fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … all that 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 not been immune to adversity, including well-documented periods of depression and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 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 figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him beyond the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to celebrate the right artists because they lacked the right pedigree," he states.

This project itself functions with a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

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

What would the Edward of the 90s think of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."