The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery on the London Underground in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the height of the Britart scene – 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 mixed across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, currently a different political figure appears as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has long been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from art.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will fade."

Hope in the Next Generation

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

His formative years would define a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, 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 … this duality gave me a dual identity both an insider and outsider."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has involved adversity, including openly discussed struggles with depression and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has inspired him away from the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

"Institutions didn't always shine a light on the right artists because they did not have the right pedigree," he comments.

This venture itself operates on a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

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

How would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."