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

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell 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 spontaneity."

Although Enninful appears nostalgic, he is not the only one. Recently, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the rise of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a different political personality appears as a potential 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 core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from literature.

"Individuals with a platform should wield it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this moment will end."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity between worlds."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has involved hardship, including well-documented battles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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."

A Foray into Curation

This refusal to be defined narrowly has inspired him away from the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"Institutions didn't always celebrate the truly innovative creators because they lacked the traditional credentials," he states.

This project itself operates on a unique approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential industry leaders. His path, he states, is a proof to the power of following your instincts.

What would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."