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

An unexpected discovery while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. 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 hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the response has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from music.

"Individuals with a platform should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

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

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to hardship, including openly discussed battles with mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, terrified 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 do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has led him away from the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.

"Institutions often failed to shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.

The magazine 72 itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful industry leaders. His journey, he states, is a proof to the power of pursuing your passions.

How would the Edward of the 90s react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. 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 fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."