Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a different political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from music.

"Individuals with a platform should wield it," he comments, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this moment will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would shape a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales grew.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His life has not been immune to hardship, including openly discussed periods of depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to 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."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he states.

This project itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he feels, is a testament to the power of following your instincts.

How would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for 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 counted me out my whole career. But no obstacle is too great once I’ve decided to do something."