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

A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor 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 remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the resurgence of populist movements, the reaction against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the previous decade, now a different political figure appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has long been to champion culture in all its diversity. This was the guiding principle 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 literature.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will fade."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a pioneering career marked by fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has involved adversity, including openly discussed periods of depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 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 restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has propelled him away from the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to promote the right artists because they weren't of the traditional credentials," he comments.

The magazine 72 itself functions with a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of pursuing your passions.

What would the Enninful of that era make of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."