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

A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, currently a different political force looms as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from politics.

"Those in a position of influence should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this period will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His journey has involved adversity, including publicly shared struggles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has led him outside the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they did not have the expected background," he observes.

The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful cultural influencers. His story, he states, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, 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."