Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, today a more divisive political figure stands as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has always been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from politics.

"Those in a position of influence should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would define a groundbreaking career characterised by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

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 expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted 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."

Defying the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved challenges, including well-documented struggles with mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him away from the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring 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 weren't given adequate attention at the time.

"The establishment often failed to celebrate the most relevant talents because they weren't of the traditional credentials," he states.

This project itself operates on a different business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a demonstration to the power of defying expectations.

What would the younger Edward think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."