The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a different political personality stands as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle 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, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will end."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would define a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. 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 sense of being on the inside and the outside."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His life has included its share of challenges, including publicly shared battles with depression and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has propelled him outside the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they lacked the expected background," he comments.

This project itself operates on a unique business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential cultural influencers. His journey, he believes, is a proof to the power of following your instincts.

How would the younger Edward make of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."