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

A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell 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 energy."

Although Enninful appears wistful, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the rise of nationalist groups, the pushback against progressive values, and the return of traditional beauty standards. Where once there was the hope of the Blair era, currently a different political figure appears as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from music.

"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "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 home and an opportunity. That’s the Britain I cherished. I hope this period will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

His formative years would shape a pioneering career marked by boldness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is calm and exudes calm. His path has involved adversity, including well-documented battles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 determination to fit into a box has inspired him away from the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Galleries often failed to celebrate the right artists because they did not have the traditional credentials," he observes.

This project itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of following your instincts.

What would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."