The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the rise of populist movements, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, now a different political personality looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the solution has consistently been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from politics.

"People with a voice should use it," he comments, referring to 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 home and an opportunity. That’s the Britain I always loved. I hope this period will end."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would forge a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of adversity, including well-documented battles with mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to fit into a box has propelled him away from the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he comments.

The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."