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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is far from alone. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, today a different political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the solution has long been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from art.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career characterised by boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour 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. Critically, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His journey has not been immune to challenges, including well-documented battles with mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, 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."

Curating a Cultural Era

This drive to be defined narrowly has led him outside the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"Institutions often failed to celebrate the truly innovative creators because they weren't of the traditional credentials," he states.

The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he believes, is a testament to the power of pursuing your passions.

What would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."