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

A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is in good company. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the rise of far-right politics, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, now a different political force looms as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

For Enninful, the solution has consistently been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from music.

"Individuals with a platform should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this period will end."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a pioneering career marked by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including publicly shared struggles with depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has led him away from the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to promote the right artists because they weren't of the right pedigree," he observes.

The magazine 72 itself operates on a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential industry leaders. His story, he believes, is a testament to the power of pursuing your passions.

What would the Edward of the 90s react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."