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

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the rise of nationalist groups, the reaction against progressive values, and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, today a different political personality stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from literature.

"People with a voice should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this phase will fade."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."

His formative years would shape a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of challenges, including well-documented battles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has inspired him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Institutions didn't always celebrate the most relevant talents because they weren't of the expected background," he states.

This project itself functions with a novel approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential creative power brokers. His story, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."