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

An unexpected discovery during a tube journey in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the rise of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, now a different political force appears as a possible leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.

In Enninful's view, the solution has long been to champion 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 portrait of modern Britain, including a wide range of prominent faces from music.

"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."

The Younger Generation's Awareness

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

His formative years would define a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. 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 the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His journey has not been immune to challenges, including well-documented struggles with depression and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, 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 fashion person."

Curating a Cultural Era

This refusal to be typecast has propelled him outside the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group 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.

"The establishment didn't always promote the right artists because they lacked the traditional credentials," he comments.

The magazine 72 itself operates on a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential cultural influencers. His path, he states, is a demonstration to the power of pursuing your passions.

What would the younger Edward think of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."