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

An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met 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 miss that energy."

While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the resurgence of far-right politics, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, today a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the antidote has long been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from music.

"Those in a position of influence should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this phase will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would shape a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His path has involved challenges, including well-documented periods of mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has inspired him beyond the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"Institutions didn't always celebrate the right artists because they weren't of the traditional credentials," he comments.

The magazine 72 itself uses a novel approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected creative power brokers. His path, he states, is a proof to the power of following your instincts.

How would the Enninful of that era make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."