Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met 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 yearn for that rawness."

Although Enninful appears sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, now a different political figure looms as a potential leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has consistently been to promote 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 celebration of modern Britain, showcasing a broad spectrum of cultural icons from politics.

"People with a voice should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will end."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

His formative years would define a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, 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 … those experiences gave me a dual identity both an insider and outsider."

Contrary to the popular image of industry figures as brash and highly strung, Enninful is calm and exudes calm. His path has included its share of adversity, including publicly shared battles with mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, not working, anxious 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 passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Institutions didn't always celebrate the right artists because they lacked the expected background," he observes.

This project itself operates on a unique approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

How would the Edward of the 90s make of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."