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 changed forever the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the rise of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a different political personality looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has long been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from literature.

"People with a voice should wield it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this phase will fade."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would shape a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to hardship, including well-documented struggles with depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has propelled him beyond the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"The establishment didn't always shine a light on the right artists because they weren't of the expected background," he states.

This venture itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential cultural influencers. His story, he states, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."