Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a noticeable regression. "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 Perceived Regression

This regression is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, today a different political force appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has consistently been to promote 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 portrait of modern Britain, showcasing a wide range of cultural icons from literature.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a trailblazing career built on boldness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales rose.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of adversity, including openly discussed periods of depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has propelled him outside the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"Institutions often failed to promote the right artists because they weren't of the expected background," he observes.

This project itself uses a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential cultural influencers. His path, he states, is a testament to the power of pursuing your passions.

What would the Edward of the 90s make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we left our homeland. 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 decided to do something."