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 changed forever the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the growth of populist movements, the reaction against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the previous decade, today a different political personality looms as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

For Enninful, the solution has always been to promote culture in all its diversity. 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 broad spectrum of cultural icons from literature.

"People with a voice should use it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would forge a trailblazing career built on fearlessness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His path has included its share of challenges, including publicly shared periods of mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has propelled him beyond the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"The establishment didn't always promote the most relevant talents because they did not have the right pedigree," he observes.

The magazine 72 itself functions with a different approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential cultural influencers. His story, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era make of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."