Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the growth of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a different political figure stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has always been to champion 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 wide range of prominent faces from art.

"People with a voice should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would shape a pioneering career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His path has included its share of challenges, including well-documented battles with mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared 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 be typecast has propelled him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Galleries didn't always promote the right artists because they lacked the expected background," he comments.

The magazine 72 itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful cultural influencers. His journey, he feels, is a proof to the power of following your instincts.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."