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

A serendipitous meeting during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met 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 bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the rise of populist movements, the backlash against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the late 90s, now a different political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the solution has consistently been to celebrate 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 celebration of modern Britain, showcasing a broad spectrum of prominent faces from politics.

"Those in a position of influence should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this period will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would forge a trailblazing career built on boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has included its share of adversity, including publicly shared battles with mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, 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 fashion person."

Curating a Cultural Era

This drive to fit into a box has propelled him beyond the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"The establishment often failed to shine a light on the most relevant talents because they weren't of the expected background," he states.

This venture itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

What would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."