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

A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the growth of nationalist groups, the reaction against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political figure stands as a potential leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.

In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from music.

"People with a voice should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this phase will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would shape a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to adversity, including publicly shared battles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity 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 refusal to be typecast has propelled him outside the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they lacked the traditional credentials," he states.

The magazine 72 itself operates on a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential cultural influencers. His path, he feels, is a testament to the power of defying expectations.

How would the Edward of the 90s react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost 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."