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

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, today a more divisive political personality stands as a possible leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

For Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"People with a voice should employ it," he says, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust 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 systemic issues – I had no concept what that was."

His formative years would define a trailblazing career marked by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"To overlook large portions 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 established his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has involved challenges, including openly discussed battles with mental health and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has inspired him outside the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Institutions often failed to shine a light on the right artists because they did not have the right pedigree," he states.

The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential creative power brokers. His path, he feels, is a testament to the power of following your instincts.

What would the Edward of the 90s think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."