The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the growth of populist movements, the reaction against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, today a different political force stands as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

According to Enninful, the solution has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from music.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this period will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would forge a pioneering career built on fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has included its share of challenges, including well-documented battles with depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict 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 established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he observes.

The magazine 72 itself operates on a unique 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 larger creative platform."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful creative power brokers. His path, he believes, is a proof to the power of defying expectations.

How would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."