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

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

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered 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 became Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a more divisive political force appears as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from music.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this moment will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased.

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

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider."

Defying the caricature of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His life has not been immune to challenges, including well-documented battles with mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, 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 figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has inspired him beyond the industry 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 says, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"The establishment didn't always shine a light on the truly innovative creators because they did not have the right pedigree," he comments.

This project itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful creative power brokers. His journey, he states, is a testament to the power of following your instincts.

How would the Edward of the 90s react to the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."