Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer 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 style editor of the publication i-D.

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

If Enninful sounds sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the growth of far-right politics, the reaction against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a different political personality appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has long been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from politics.

"Those in a position of influence should use it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will end."

Hope in the Next Generation

He takes comfort 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 forge a trailblazing career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.

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

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has involved hardship, including publicly shared struggles with mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, terrified I was going to go blind. 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 scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him beyond the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"The establishment often failed to promote the most relevant talents because they lacked the traditional credentials," he states.

This venture itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful creative power brokers. His journey, he states, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."