Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the growth of populist movements, the backlash against progressive values, and the return of traditional beauty standards. In place of the optimism of the late 90s, currently a different political figure appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has always been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from literature.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this phase will pass."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would shape a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being on the inside and the outside."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His journey has included its share of challenges, including publicly shared struggles with depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, terrified 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 passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him away from the world that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.

"Galleries didn't always shine a light on the right artists because they lacked the traditional credentials," he observes.

This project itself operates on a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

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

What would the Enninful of that era make of 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 never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."