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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 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 peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the growth of populist movements, the backlash against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political personality appears as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from literature.

"People with a voice should wield it," he comments, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this period will end."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales rose.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being between worlds."

Defying the popular image of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to adversity, including publicly shared periods of depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s similar 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 fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has inspired him beyond the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"The establishment often failed to celebrate the right artists because they weren't of the right pedigree," he comments.

This project itself uses a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

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

How would the Enninful of that era make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."