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

An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is increasingly evident: the rise of populist movements, the reaction against progressive values, and the return of narrow beauty standards. Replacing the optimism of the Blair era, today a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the solution has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from art.

"People with a voice should use it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this phase will end."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would forge a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "change-maker".

"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 president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

Defying the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including openly discussed battles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place 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 thought, if this ever passes, 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 fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him outside the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Institutions often failed to shine a light on the right artists because they lacked the traditional credentials," he comments.

The magazine 72 itself operates on a different business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful industry leaders. His story, he believes, is a proof to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."