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

A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "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 miss that rawness."

While Enninful may seem nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a different political personality appears as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the solution has always been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from art.

"People with a voice should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would forge a trailblazing career characterised by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has included its share of hardship, including publicly shared battles with depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has propelled him outside the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"Galleries didn't always celebrate the right artists because they weren't of the expected background," he observes.

This venture itself uses a novel strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful stands as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of pursuing your passions.

What would the Edward of the 90s react to the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."