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

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

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

Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the rise of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political figure looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has consistently been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from literature.

"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this period will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would forge a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised 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 very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Defying the popular image of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has included its share of challenges, including well-documented struggles with depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has inspired him outside the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"The establishment often failed to promote the truly innovative creators because they did not have the traditional credentials," he comments.

This project itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected cultural influencers. His path, he believes, is a proof to the power of pursuing your passions.

What would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."