Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

An unexpected discovery during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director 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 states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the growth of populist movements, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, now a different political force looms as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has always been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from art.

"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including openly discussed struggles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable 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 confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has inspired him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"The establishment didn't always promote the most relevant talents because they lacked the right pedigree," he comments.

The magazine 72 itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

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

How would the younger Edward react to the his current self? He chuckles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."