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

An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears wistful, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, now a different political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again.

According to Enninful, the response has consistently been to promote culture in all its multifaceted forms. 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 cultural icons from politics.

"Those in a position of influence should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will end."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

Those early experiences would forge a pioneering career built on fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

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

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has involved adversity, including well-documented periods of depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, 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 is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has led him beyond the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Institutions didn't always celebrate the most relevant talents because they weren't of the traditional credentials," he comments.

This project itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a testament to the power of pursuing your passions.

How would the Enninful of that era make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."