Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political personality appears as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has long been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from art.

"Those in a position of influence should use it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will pass."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a trailblazing career characterised by fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

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

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity both an insider and outsider."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has not been immune to challenges, including well-documented battles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, fearing 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 ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has led him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"Institutions didn't always celebrate the right artists because they did not have the traditional credentials," he states.

This project itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

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

How would the younger Edward make of the man he has become? He smiles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."