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

A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered 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 rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the rise of nationalist groups, the reaction against social awareness, and the return of traditional beauty standards. Where once there was the hope of the Blair era, currently a more divisive political personality stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the antidote has always been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from music.

"People with a voice should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this moment will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would define a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His life has involved challenges, including openly discussed battles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all 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 beyond the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Institutions didn't always promote the most relevant talents because they lacked the right pedigree," he comments.

This project itself uses a unique strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

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

What would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."