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

A chance encounter while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the height 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 great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is hard to ignore: the growth of nationalist groups, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a more divisive political personality stands as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from politics.

"People with a voice should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this period will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would define a trailblazing career marked by boldness and representation. Enninful made history 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 leadership featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of hardship, including publicly shared struggles with mental health and substance use.

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

Curating a Cultural Era

This drive to be typecast has inspired him away from the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.

"The establishment often failed to celebrate the right artists because they lacked the right pedigree," he states.

This project itself functions with a novel business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected industry leaders. His journey, he believes, is a testament to the power of defying expectations.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."