Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. 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 hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the resurgence of nationalist groups, the backlash against social awareness, and the return of traditional beauty standards. In place of the optimism of the late 90s, today a different political figure appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the solution has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from music.

"Those in a position of influence should use it," he says, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will end."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would forge a pioneering career marked by fearlessness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to adversity, including publicly shared periods of depression and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has inspired him away from the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"Galleries didn't always promote the right artists because they did not have the right pedigree," he states.

This venture itself operates on a unique approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected cultural influencers. His path, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s make of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."