Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the return of traditional beauty standards. Replacing the hope of the late 90s, currently a different political personality looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has always been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from politics.

"People with a voice should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

The Younger Generation's Awareness

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

The beginnings of his career would forge a groundbreaking career built on fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew.

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

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity on the inside and the outside."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has involved challenges, including publicly shared periods of depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him beyond the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"The establishment often failed to promote the right artists because they did not have the traditional credentials," he states.

This venture itself operates on a different business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful cultural influencers. His story, he states, is a testament to the power of pursuing your passions.

What would the Enninful of that era think of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."