Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the resurgence of far-right politics, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a more divisive political figure appears as a potential leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from art.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this moment will pass."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would shape a groundbreaking career marked by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His path has included its share of hardship, including well-documented periods of depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "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 exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has inspired him beyond the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.

"Galleries sometimes neglected to shine a light on the right artists because they lacked the traditional credentials," he observes.

This project itself functions with a unique strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."