Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, today a different political personality looms as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the solution has long been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from politics.

"People with a voice should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this phase will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would shape a pioneering career marked by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds."

Contrary to the popular image of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to challenges, including publicly shared periods of depression and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has led him outside the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"The establishment didn't always promote the most relevant talents because they lacked the right pedigree," he comments.

This project itself operates on a unique business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential industry leaders. His story, he feels, is a demonstration to the power of defying expectations.

How would the Enninful of that era make of the his current self? He smiles. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."