Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the growth of far-right politics, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has long been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from politics.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career marked by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. 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 dual identity on the inside and the outside."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and exudes calm. His life has not been immune to hardship, including openly discussed battles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has inspired him outside the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they lacked the right pedigree," he observes.

This project itself uses a unique approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

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

How would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."