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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the resurgence of nationalist groups, the pushback against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, today a different political figure appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from literature.

"Individuals with a platform should use it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this phase will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a trailblazing career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity between worlds."

Defying the caricature of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has not been immune to hardship, including well-documented battles with mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has inspired him beyond the world that made his name. 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 explains, aims to evoke the decade's interdisciplinary energy – and highlight 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 expected background," he observes.

This venture itself uses a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he states, is a testament to the power of following your instincts.

What would the Enninful of that era make of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."