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 trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is hard to ignore: the resurgence of populist movements, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a more divisive political personality stands as a possible leader. Even, the British flag, once an badge of national pride, has sparked debate once more.

According to Enninful, the antidote has always been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from music.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this period will end."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has included its share of challenges, including well-documented struggles with mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "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 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 fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has inspired him beyond the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"The establishment didn't always shine a light on the right artists because they did not have the traditional credentials," he states.

This project itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he believes, is a demonstration to the power of defying expectations.

How would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."