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

A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

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

Although Enninful appears wistful, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the growth of populist movements, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, today a different political force looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from literature.

"Those in a position of influence should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will fade."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

His formative years would forge a trailblazing career built on fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.

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

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity on the inside and the outside."

Defying the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to hardship, including well-documented battles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has led him away from the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"The establishment sometimes neglected to promote the truly innovative creators because they did not have the expected background," he comments.

This venture itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful industry leaders. His story, he states, is a proof to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."