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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, currently a more divisive political force stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has long 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 diverse array of cultural icons from politics.

"People with a voice should use it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this moment will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would shape a pioneering career characterised by boldness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales rose.

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

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has involved challenges, including publicly shared 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 experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him away from the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they weren't of the right pedigree," he states.

The magazine 72 itself uses a unique business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful cultural influencers. His path, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."