The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the rise of populist movements, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the hope of the late 90s, currently a different political figure appears as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from art.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this phase will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would shape a pioneering career characterised by boldness and representation. 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 leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has involved adversity, including well-documented struggles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured 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 prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has propelled him beyond the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he observes.

The magazine 72 itself functions with a different approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most respected creative power brokers. His path, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward react to the his current self? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."