Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a different political force appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the solution has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from music.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would forge a trailblazing career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to hardship, including openly discussed periods of depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries 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 do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has led him outside the world that made his name. He is now organising a significant 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 explore the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he comments.

This project itself uses a unique strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful cultural influencers. His path, he states, is a demonstration to the power of defying expectations.

How would the younger Edward react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."