Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the growth of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the late 90s, now a different political force looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has long been to celebrate culture in all its variety. 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 wide range of cultural icons from art.

"Individuals with a platform should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people 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 emphasises.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. 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 Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including well-documented battles with depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has led him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.

The magazine 72 itself operates on a different business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential cultural influencers. His path, he feels, is a proof to the power of pursuing your passions.

How would the Edward of the 90s react to the his current self? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."