Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is in good company. Recently, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the rise of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political figure looms as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the antidote has consistently been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from art.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this period will fade."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would shape a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim 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 was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is calm and exudes calm. His path has not been immune to challenges, including openly discussed periods of mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, 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."

A Foray into Curation

This drive to fit into a box has led him beyond the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they did not have the traditional credentials," he comments.

The magazine 72 itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected creative power brokers. His path, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s react to the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing 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."