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

A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

While Enninful may seem sentimental, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, now a more divisive political personality stands as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from politics.

"Those in a position of influence should employ it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will fade."

The Younger Generation's Awareness

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

His formative years would define a trailblazing career characterised by boldness and diversity. 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 landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and projects peace. His life has included its share of hardship, including well-documented periods of depression and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has propelled him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries often failed to promote the truly innovative creators because they weren't of the traditional credentials," he observes.

The magazine 72 itself functions with a novel approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential creative power brokers. His story, he states, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era think of the his current self? He smiles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."