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

An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again.

According to Enninful, the solution has always been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"Individuals with a platform should wield it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this moment will pass."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

His formative years would forge a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since leaving 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 everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has involved challenges, including publicly shared struggles with mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity 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 drive to be defined narrowly has propelled him outside the realm that established him. He is now putting together a significant 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 interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"Institutions often failed to celebrate the right artists because they did not have the traditional credentials," he states.

This project itself uses a novel strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he feels, is a testament to the power of following your instincts.

How would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."