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

An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the return of traditional beauty standards. Replacing the optimism of the previous decade, now a more divisive political force stands as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the antidote has long been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from art.

"Individuals with a platform should use it," he says, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this moment will fade."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would shape a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.

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

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has involved hardship, including publicly shared periods of mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him beyond the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Institutions sometimes neglected to celebrate the right artists because they weren't of the right pedigree," he observes.

This project itself operates on a different approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful cultural influencers. His journey, he feels, is a demonstration to the power of defying expectations.

How would the Edward of the 90s make of the man he has become? He chuckles. "He would be astonished, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."