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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time 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 understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, now a more divisive political figure looms as a possible leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

For Enninful, the response has long been to promote 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 celebration of modern Britain, featuring a broad spectrum of cultural icons from literature.

"Those in a position of influence should employ it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will pass."

A New Wave of Consciousness

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

His formative years would define a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. 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."

Defying the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including publicly shared periods of depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has propelled him beyond the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"The establishment often failed to promote the most relevant talents because they did not have the traditional credentials," he states.

This venture itself operates on a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a demonstration to the power of following your instincts.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. 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 I am unstoppable once I’ve decided to do something."