The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

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

Although Enninful appears sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful feels a significant change. "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."

A Perceived Regression

This regression is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, currently a more divisive political figure looms as a potential leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to promote 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, including a diverse array of influential figures from politics.

"People with a voice should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would shape a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, 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, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised 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 incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as loud and highly strung, Enninful is calm and exudes calm. His life has not been immune to hardship, including well-documented battles with mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has led him away from the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"Institutions often failed to celebrate the truly innovative creators because they lacked the right pedigree," he states.

This venture itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful cultural influencers. His story, he states, is a proof to the power of pursuing your passions.

What would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. 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 fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."