Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "In my view, we’re more divided 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 rise of populist movements, the backlash against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the late 90s, currently a different political figure appears as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.

For Enninful, the response has consistently been to champion 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 snapshot of modern Britain, showcasing a wide range of prominent faces from music.

"Individuals with a platform should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this period will pass."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would define a trailblazing career built on boldness and representation. 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 landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being between worlds."

Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has involved hardship, including openly discussed struggles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 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 limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has led him away from the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to celebrate the right artists because they weren't of the traditional credentials," he states.

The magazine 72 itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected industry leaders. His path, he feels, is a testament to the power of following your instincts.

What would the younger Edward make of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."