The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, today a more divisive political force stands as a potential leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

For Enninful, the solution has consistently been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from politics.

"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career marked by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. 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 between worlds."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has included its share of hardship, including well-documented periods of mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful 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 fit into a box has led him beyond the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group 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 lacked a spotlight at the time.

"The establishment didn't always promote the most relevant talents because they did not have the traditional credentials," he states.

This project itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of following your instincts.

What would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."