Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting on the London Underground in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 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 zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the rise of nationalist groups, the reaction against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from music.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this moment will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a pioneering career built on fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

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

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being between worlds."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of adversity, including publicly shared periods of depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear 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 prayed, if this ever passes, 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 fashion person."

The Tate Britain Exhibition

This refusal to be typecast has led him away from the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to promote the right artists because they lacked the right pedigree," he comments.

This venture itself operates on a novel strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential creative power brokers. His path, he states, is a testament to the power of defying expectations.

How would the younger Edward make of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."