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

An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is in good company. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the rise of nationalist groups, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, today a different political personality stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from art.

"People with a voice should use it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will end."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would shape a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

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

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Defying the caricature of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has involved hardship, including well-documented periods of depression and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything 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 drive to be defined narrowly has inspired him beyond the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"The establishment didn't always shine a light on the most relevant talents because they weren't of the traditional credentials," he comments.

The magazine 72 itself functions with a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most influential industry leaders. His journey, he feels, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."