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

An unexpected discovery while riding the tube in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political personality looms as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from art.

"People with a voice should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this moment will fade."

The Younger Generation's Awareness

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

Those early experiences would forge a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, 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 … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has included its share of challenges, including well-documented battles with mental health and addiction.

He has also undergone 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 lose my sight. 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 pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has led him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Galleries didn't always shine a light on the right artists because they did not have the right pedigree," he observes.

The magazine 72 itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

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

What would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."