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 transformed the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem wistful, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, now a different political personality stands as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the response has long been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from literature.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this period will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would forge a pioneering career built on boldness and representation. Enninful made history as the first male, 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 models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His journey has involved challenges, including well-documented struggles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s like 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 afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has led him away from the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Institutions often failed to celebrate the most relevant talents because they did not have the expected background," he states.

This venture itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most powerful industry leaders. His path, he states, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."