The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell 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."

If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, currently a more divisive political personality stands as a possible leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the solution has long been to champion 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 portrait of modern Britain, featuring a wide range of cultural icons from music.

"People with a voice should use it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this period will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including openly discussed battles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced 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 vowed, if this ever passes, 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 fashion person."

A Foray into Curation

This determination to be typecast has propelled him outside the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"The establishment didn't always shine a light on the most relevant talents because they did not have the right pedigree," he states.

The magazine 72 itself operates on a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of following your instincts.

What would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."