Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the peak 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 felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, now a more divisive political personality looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the response has long been to promote 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, including a diverse array of prominent faces from art.

"Those in a position of influence should employ it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position 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 hope this moment will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would define a groundbreaking career built on boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals 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 bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of challenges, including openly discussed periods of mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has inspired him away from the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they weren't of the right pedigree," he observes.

This venture itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a testament to the power of following your instincts.

How would the younger Edward think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."