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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the growth of populist movements, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the previous decade, currently a different political force appears as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the solution has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from politics.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will fade."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."

His formative years would shape a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His path has not been immune to hardship, including openly discussed periods of mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has led him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"Institutions often failed to promote the most relevant talents because they lacked the right pedigree," he observes.

This project itself operates on a different strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected creative power brokers. His story, he believes, is a proof to the power of following your instincts.

What would the Enninful of that era think of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."