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

An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is difficult to overlook: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has always been to celebrate 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 celebration of modern Britain, showcasing a wide range of prominent faces from politics.

"Those in a position of influence should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

The Younger Generation's Awareness

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

Those early experiences would forge a pioneering career built on boldness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has involved challenges, including publicly shared battles with mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a difficult period 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 pursue all 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 drive to be defined narrowly has inspired him away from the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries often failed to shine a light on the most relevant talents because they did not have the expected background," he comments.

This venture itself operates on a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful creative power brokers. His journey, he states, is a proof to the power of pursuing your passions.

How would the younger Edward react to the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."