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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the height 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 understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the growth of far-right politics, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political force appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

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

"Individuals with a platform should use it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would shape a groundbreaking career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales increased.

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

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity between worlds."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including openly discussed battles with mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to 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 fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has led him away from the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"Galleries often failed to promote the truly innovative creators because they did not have the traditional credentials," he states.

The magazine 72 itself uses a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential cultural influencers. His story, he states, is a demonstration to the power of pursuing your passions.

What would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."