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

A serendipitous meeting during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the rise of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the late 90s, currently a different political force appears as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the response has long 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 portrait of modern Britain, showcasing a wide range of prominent faces from music.

"People with a voice should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this phase will end."

A New Wave of Consciousness

He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would shape a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of hardship, including well-documented struggles with depression and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has propelled him away from the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the right pedigree," he states.

The magazine 72 itself uses a different strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era make of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."