Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the growth of populist movements, the reaction against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the Blair era, today a different political personality looms as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

According to Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle 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 art.

"People with a voice should employ it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this moment will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would shape a groundbreaking career built on boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales increased.

"Ignoring huge sections 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 established his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective between worlds."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has involved hardship, including well-documented battles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, 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."

A Foray into Curation

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

"Galleries sometimes neglected to promote the truly innovative creators because they weren't of the right pedigree," he states.

This project itself functions with a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions.

How would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."