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

An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the zenith 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 became Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, today a different political personality looms as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

According to Enninful, the solution has long 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 snapshot of modern Britain, featuring a diverse array of influential figures from art.

"Individuals with a platform should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would forge a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to hardship, including openly discussed periods of mental health and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all 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 determination to be typecast has propelled him beyond the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Galleries often failed to celebrate the right artists because they lacked the right pedigree," he states.

The magazine 72 itself operates on a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he states, is a testament to the power of defying expectations.

How would the Enninful of that era think of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."