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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful feels 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."

Shifting Attitudes

This regression is increasingly evident: the resurgence of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political personality looms as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the response has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from literature.

"People with a voice should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this period will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would forge a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His life has involved challenges, including well-documented struggles with mental health and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has propelled him away from the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"Galleries didn't always shine a light on the right artists because they lacked the right pedigree," he observes.

This project itself uses a unique business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential cultural influencers. His journey, he believes, is a proof to the power of following your instincts.

How would the Edward of the 90s make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."