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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a significant change. "In my view, 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 change is hard to ignore: the resurgence of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, currently a different political personality looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

For Enninful, the antidote has long been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from literature.

"Individuals with a platform should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will end."

The Younger Generation's Awareness

He finds hope in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would define a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales rose.

"When you ignore 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 since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity between worlds."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has involved challenges, including publicly shared battles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has propelled him away from the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.

"Galleries often failed to celebrate the right artists because they did not have the expected background," he comments.

This project itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions.

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 proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."