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 trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the growth of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, today a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, 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 snapshot of modern Britain, featuring a diverse array of influential figures from music.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

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 expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including openly discussed battles with mental health and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has inspired him beyond the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"The establishment often failed to celebrate the most relevant talents because they did not have the expected background," he states.

The magazine 72 itself functions with a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most influential cultural influencers. His path, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era think of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."