The fashion icon Edward Enninful on 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 path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of narrow beauty standards. Replacing the hope of the previous decade, currently a different political figure looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has long been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from music.

"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this period will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would forge a pioneering career built on boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

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

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has involved adversity, including openly discussed periods of mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, 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 fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has propelled him beyond the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he states.

This venture itself uses a different business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he believes, is a testament to the power of defying expectations.

What would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. In those days 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 lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."