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

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 London's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a profound shift. "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."

A Perceived Regression

This regression is increasingly evident: the growth of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the Blair era, currently a more divisive political personality looms as a potential leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from music.

"Individuals with a platform should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would define a groundbreaking career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. 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 physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has included its share of adversity, including publicly shared periods of mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all 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 determination to be typecast has inspired him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"Institutions didn't always shine a light on the right artists because they did not have the expected background," he observes.

The magazine 72 itself uses a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of defying expectations.

How would the Enninful of that era react to the his current self? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."