Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the Blair era, currently a more divisive political personality stands as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the antidote has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from art.

"Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this moment will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would shape a groundbreaking career marked by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including publicly shared battles with mental health and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, 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."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him away from the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they did not have the expected background," he states.

This venture itself operates on a different strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he believes, is a demonstration to the power of following your instincts.

How would the younger Edward think of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."