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

A chance encounter during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. 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 hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a more divisive political personality appears as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the antidote has always been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from literature.

"People with a voice should employ it," he asserts, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this period will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would shape a groundbreaking career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds."

Defying the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to hardship, including well-documented periods of depression and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has inspired him away from the world that established him. 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 capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he observes.

This venture itself operates on a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a demonstration to the power of following your instincts.

What would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."