Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting while riding the tube in 1988 altered the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

Although Enninful appears wistful, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the resurgence of far-right politics, the reaction against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the response has long been to champion 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 portrait of modern Britain, featuring a wide range of influential figures from art.

"Those in a position of influence should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would define a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His journey has involved adversity, including well-documented battles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, fearing 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 ends, 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 figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has propelled him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"The establishment often failed to shine a light on the most relevant talents because they lacked the traditional credentials," he comments.

This project itself uses a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful cultural influencers. His journey, he feels, is a testament to the power of defying expectations.

What would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

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