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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

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

If Enninful sounds wistful, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the rise of far-right politics, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the previous decade, today a more divisive political figure appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

For Enninful, the response has consistently been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from music.

"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will fade."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has involved hardship, including well-documented battles with depression and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has propelled him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"Galleries didn't always shine a light on the right artists because they weren't of the traditional credentials," he states.

The magazine 72 itself operates on a different approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of following your instincts.

What would the Edward of the 90s react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."