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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the growth of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the Blair era, currently a more divisive political figure appears as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.

According to Enninful, the solution has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from art.

"Those in a position of influence should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will end."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would define a groundbreaking career characterised by fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. 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 … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has involved adversity, including well-documented struggles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, 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 figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has propelled him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Galleries sometimes neglected to promote the right artists because they weren't of the expected background," he states.

This project itself functions with a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected creative power brokers. His story, he feels, is a proof to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "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 underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."