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

A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "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 miss that energy."

If Enninful sounds nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is difficult to overlook: the growth of far-right politics, the pushback against progressive values, and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political personality stands as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

For Enninful, the solution has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from art.

"People with a voice should employ it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this phase will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would define a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. 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."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has not been immune to adversity, including openly discussed battles with mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 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 confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has propelled him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.

"Galleries sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he states.

The magazine 72 itself functions with a novel business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected industry leaders. His path, he feels, is a proof to the power of pursuing your passions.

How would the younger Edward make of the man he has become? He smiles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."