The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the Blair era, now a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from music.

"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this moment will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would define a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality 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 life has included its share of challenges, including publicly shared periods of depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has led him outside the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Institutions sometimes neglected to celebrate the right artists because they did not have the traditional credentials," he comments.

This project itself uses a novel business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

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

What would the younger Edward make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He pauses. "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 doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."