Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the height 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 felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the rise of populist movements, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the hope of the late 90s, today a more divisive political figure appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has always 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 snapshot of modern Britain, including a wide range of influential figures from music.

"Individuals with a platform should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will fade."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would define a pioneering career built on boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has not been immune to adversity, including openly discussed battles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, not working, fearing 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 is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him beyond the realm that established him. He is now organising 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 spotlight those who lacked adequate attention at the time.

"The establishment often failed to promote the right artists because they lacked the expected background," he observes.

The magazine 72 itself uses a different strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most respected creative power brokers. His path, he states, is a demonstration to the power of defying expectations.

What would the Enninful of that era think of the Edward of today? He laughs heartily. "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 necessarily for me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."