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

A serendipitous meeting while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears nostalgic, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, today a different political force looms as a potential leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

For Enninful, the response has always been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature.

"People with a voice should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this phase will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would forge a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to hardship, including openly discussed struggles with depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in 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 ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has propelled him outside the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to shine a light on the right artists because they weren't of the expected background," he observes.

This venture itself operates on a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most respected industry leaders. His journey, he feels, is a proof to the power of pursuing your passions.

What would the Edward of the 90s think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."