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

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

If Enninful sounds sentimental, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the growth of far-right politics, the reaction against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, currently a different political force appears as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the response has consistently been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from literature.

"People with a voice should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

His formative years would define a pioneering career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

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

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the caricature of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of challenges, including well-documented battles with mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has led him beyond the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the expected background," he comments.

This venture itself operates on a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a proof to the power of following your instincts.

How would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."