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

An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the resurgence of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, now a more divisive political personality looms as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from art.

"Individuals with a platform should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would forge a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including well-documented battles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to 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 afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has led him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"Institutions didn't always shine a light on the right artists because they lacked the traditional credentials," he comments.

The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected cultural influencers. His story, he believes, is a testament to the power of defying expectations.

How would the younger Edward react to the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. 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 counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."