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

An unexpected discovery while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, today a different political personality appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

For Enninful, the response has always been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from art.

"People with a voice should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."

Those early experiences would shape a groundbreaking career built on fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has not been immune to adversity, including openly discussed battles with mental health and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything 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 drive to fit into a box has propelled him beyond the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"The establishment sometimes neglected to shine a light on the right artists because they lacked the traditional credentials," he comments.

This project itself uses a novel approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? 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 influential industry leaders. His path, he believes, is a demonstration to the power of defying expectations.

How would the Edward of the 90s react to the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."