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

An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the rise of far-right politics, the backlash against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the Blair era, now a different political personality looms as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the response has consistently 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, featuring a wide range of influential figures from politics.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "Everyone talks 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 refuge and an opportunity. That’s the Britain I believed in. I believe this period will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would forge a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

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

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is calm and exudes calm. His life has not been immune to challenges, including openly discussed battles with depression and substance use.

He has also faced significant 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, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has propelled him away from the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"The establishment often failed to celebrate the most relevant talents because they did not have the expected background," he observes.

This venture itself functions with a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of following your instincts.

How would the Edward of the 90s make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."