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

A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the resurgence of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has always been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from music.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this moment will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would shape a pioneering career characterised by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His journey has involved hardship, including publicly shared periods of depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has led him outside the world that established him. 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 notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries didn't always shine a light on the right artists because they did not have the traditional credentials," he comments.

The magazine 72 itself operates on a novel business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected creative power brokers. His journey, he feels, is a testament to the power of defying expectations.

How would the Edward of the 90s react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."