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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

If Enninful sounds nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. However since that time, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the rise of nationalist groups, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, today a different political figure appears as a potential leader. Even, the British flag, once an symbol of national pride, has become contentious again.

According to Enninful, the solution has always been to champion 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 portrait of modern Britain, showcasing a diverse array of influential figures from art.

"Individuals with a platform should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will fade."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

His formative years would define a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has involved challenges, including publicly shared periods of mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, 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 figure in fashion."

A Foray into Curation

This determination to fit into a box has propelled him beyond the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"The establishment often failed to promote the right artists because they lacked the traditional credentials," he comments.

This project itself operates on a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

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

What would the younger Edward think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."