The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the late 90s, today a different political figure appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from art.

"Those in a position of influence should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will fade."

Hope in the Next Generation

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

Those early experiences would define a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His life has involved adversity, including publicly shared struggles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

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

"The establishment sometimes neglected to promote the most relevant talents because they did not have the traditional credentials," he observes.

The magazine 72 itself uses a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of following your instincts.

How would the younger Edward think of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."