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

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, moving 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 YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the previous decade, now a different political figure stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from music.

"Those in a position of influence should wield it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this period will fade."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career marked by boldness and inclusivity. Enninful made history as the first man, 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 people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has not been immune to adversity, including well-documented periods of mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has inspired him outside the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Galleries didn't always shine a light on the truly innovative creators because they weren't of the expected background," he comments.

The magazine 72 itself uses a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a proof to the power of pursuing your passions.

What would the younger Edward think of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."