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

A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the rise of far-right politics, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, currently a different political figure stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from music.

"People with a voice should wield it," he asserts, explaining those editorial decisions. "There is much discussion 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 education. That’s the Britain I believed in. I hope this moment will end."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved hardship, including publicly shared periods of mental health and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, 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 figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has propelled him away from the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to celebrate the right artists because they weren't of the traditional credentials," he comments.

This venture itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

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

What would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."