Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing 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 Young British Artists – Tracey Emin, Jay Jopling. I encountered 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 rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the resurgence of far-right politics, the pushback against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political force stands as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from politics.

"Those in a position of influence should wield it," he asserts, explaining 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 education. That’s the Britain I cherished. I believe this phase will end."

Hope in the Next Generation

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

His formative years would define a groundbreaking career marked by fearlessness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"When you ignore huge sections 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 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 "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has involved hardship, including publicly shared struggles with mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to fit into a box has propelled him outside the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he states.

This project itself operates on a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

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

How would the younger Edward make of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. At that time 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 fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."