The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A chance encounter while riding the tube in 1988 changed forever the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is hard to ignore: the rise of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, currently a more divisive political force appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has always been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from music.

"Individuals with a platform should use it," he says, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position 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 pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective both an insider and outsider."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to hardship, including openly discussed battles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place 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 passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine 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 made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring 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 spotlight those who weren't given a spotlight at the time.

"Galleries didn't always promote the right artists because they did not have the right pedigree," he states.

The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential cultural influencers. His journey, he feels, is a testament to the power of following your instincts.

What would the Enninful of that era make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."