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

A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the height of the YBA movement – 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 hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, now a different political force stands as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature.

"Individuals with a platform should use it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career built on boldness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective between worlds."

Defying the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of hardship, including publicly shared battles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, 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 do everything that I was so scared 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 fit into a box has led him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"The establishment often failed to shine a light on the truly innovative creators because they lacked the right pedigree," he observes.

This venture itself functions with a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he feels, is a demonstration to the power of defying expectations.

How would the Edward of the 90s make of the man he has become? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."