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 path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, evolving 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 recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re more divided 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 difficult to overlook: the growth of populist movements, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, currently a different political force appears as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the solution has long been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from politics.

"Those in a position of influence should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this period will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity on the inside and the outside."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His life has included its share of adversity, including well-documented periods of depression and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful 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 led him beyond the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.

"Institutions often failed to celebrate the truly innovative creators because they did not have the right pedigree," he states.

This venture itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful cultural influencers. His journey, he states, is a demonstration to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He smiles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."