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

A chance encounter during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, today a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again.

In Enninful's view, the antidote has always been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from literature.

"Those in a position of influence should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this moment will end."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept 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 editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, 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 explains.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, 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 have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Defying the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of adversity, including openly discussed struggles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place 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 thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has inspired him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together 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 lacked adequate attention at the time.

"Galleries sometimes neglected to promote the right artists because they weren't of the right pedigree," he observes.

This project itself uses a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

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

How would the younger Edward make of the his current self? He smiles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."