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

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era 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 knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the growth of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from music.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will end."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would forge a pioneering career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

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

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of hardship, including publicly shared battles with depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared 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 fit into a box has propelled him away from the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"Institutions didn't always celebrate the right artists because they weren't of the traditional credentials," he states.

The magazine 72 itself operates on a different strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential cultural influencers. His journey, he believes, is a proof to the power of pursuing your passions.

What would the younger Edward make of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."