Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication 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 I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is difficult to overlook: the growth of far-right politics, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the hope of the Blair era, now a more divisive political force appears as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has long been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from literature.

"Those in a position of influence should wield it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this phase will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would define a pioneering career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity on the inside and the outside."

Defying the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to adversity, including openly discussed periods of mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has led him away from the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"The establishment often failed to promote the most relevant talents because they did not have the traditional credentials," he comments.

This venture itself uses a novel business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His path, he states, is a demonstration to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."