The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

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

If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the rise of far-right politics, the backlash against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political force stands as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from music.

"People with a voice should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this period will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would define a groundbreaking career built on boldness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His path has involved challenges, including well-documented struggles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has led him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"The establishment sometimes neglected to promote the most relevant talents because they weren't of the traditional credentials," he states.

The magazine 72 itself operates on a novel approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential industry leaders. His story, he states, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era react to the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."