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

A serendipitous meeting on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the growth of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a more divisive political personality stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has consistently been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from politics.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will fade."

The Younger Generation's Awareness

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

The beginnings of his career would define a pioneering career marked by fearlessness and inclusivity. 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 leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity between worlds."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has involved hardship, including well-documented battles with depression and addiction.

He has also undergone significant 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, fearing 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 do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him outside the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"Institutions often failed to shine a light on the most relevant talents because they weren't of the traditional credentials," he states.

This venture itself uses a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential cultural influencers. His story, he feels, is a proof to the power of pursuing your passions.

How would the younger Edward think of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."