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 path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is difficult to overlook: the growth of far-right politics, the backlash against progressive values, and the return of narrow beauty standards. Replacing the hope of the late 90s, today a different political figure stands as a potential leader. Furthermore, the British flag, once an badge of national pride, has become contentious again.

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

"Individuals with a platform should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

The beginnings of his career would define a trailblazing career characterised 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 lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

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

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside."

Defying the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His life has included its share of challenges, including openly discussed struggles with depression and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 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 figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has propelled him beyond the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"The establishment didn't always promote the most relevant talents because they weren't of the right pedigree," he states.

The magazine 72 itself functions with a different approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful cultural influencers. His story, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."