Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the growth of nationalist groups, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, currently a different political force appears as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.

For Enninful, the solution has always been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from politics.

"Those in a position of influence should use it," he comments, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would define a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

Defying the stereotype of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has not been immune to adversity, including openly discussed periods of depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him outside the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they weren't of the right pedigree," he states.

The magazine 72 itself functions with a novel approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

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

What would the Edward of the 90s make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly 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 set my intention to do something."