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

A serendipitous meeting during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a significant change. "I feel, 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 rise of far-right politics, the pushback against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political force stands as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the response has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from art.

"Individuals with a platform should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will pass."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would shape a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

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

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His life has not been immune to adversity, including openly discussed battles with depression and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has propelled him beyond the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment often failed to promote the truly innovative creators because they did not have the right pedigree," he comments.

This project itself operates on a different approach, eschewing 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."

Looking Forward Without Fear

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

How would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."