Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the growth of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the solution has consistently been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from music.

"Individuals with a platform should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would forge a trailblazing career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has not been immune to adversity, including well-documented struggles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has led him away from the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries often failed to shine a light on the most relevant talents because they weren't of the right pedigree," he observes.

The magazine 72 itself uses a different business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most respected cultural influencers. His path, he feels, is a proof to the power of pursuing your passions.

What would the Edward of the 90s make of the his current self? He smiles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, 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 made up my mind to do something."