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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the previous decade, today a more divisive political personality stands as a potential leader. Even, the Union Jack, once an emblem 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 driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from art.

"Individuals with a platform should use it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this period will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would shape a pioneering career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His life has involved hardship, including publicly shared battles with depression and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has led him outside the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Galleries didn't always celebrate the right artists because they did not have the expected background," he comments.

The magazine 72 itself uses a different strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he states, is a proof to the power of pursuing your passions.

How would the Enninful of that era make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

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 counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."