Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the rise of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has consistently been to champion 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 celebration of modern Britain, including a broad spectrum of prominent faces from politics.

"Individuals with a platform should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this period will pass."

The Younger Generation's Awareness

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

His formative years would forge a pioneering career marked by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales rose.

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

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being on the inside and the outside."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has involved hardship, including well-documented battles with depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has led him away from the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Institutions didn't always promote the truly innovative creators because they did not have the expected background," he observes.

This project itself functions with a unique business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

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

What would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."