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

An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is hard to ignore: the resurgence of far-right politics, the reaction against social awareness, and the return of traditional beauty standards. Replacing the hope of the Blair era, today a more divisive political personality appears as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has always been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from art.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including well-documented struggles with mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, fearing 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 pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has led him outside the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Galleries didn't always shine a light on the right artists because they weren't of the right pedigree," he observes.

This project itself operates on a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful cultural influencers. His journey, he believes, is a proof to the power of pursuing your passions.

What would the Edward of the 90s react to the his current self? He smiles. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."