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 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the rise of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a different political personality looms as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from literature.

"Individuals with a platform should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will fade."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.

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

A New Chapter as a 'Disruptor'

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".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being on the inside and the outside."

Defying the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has included its share of challenges, including openly discussed battles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all 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 be defined narrowly has propelled him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"The establishment often failed to shine a light on the right artists because they weren't of the expected background," he comments.

This project itself functions with a novel business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."