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

A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the growth of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a different political force stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from art.

"People with a voice should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this moment will end."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would define a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved adversity, including openly discussed struggles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, 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 limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has inspired him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"The establishment often failed to shine a light on the right artists because they weren't of the expected background," he states.

This venture itself functions with a novel business model, forgoing 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 part of a larger creative platform."

A Testament to Resilience

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

How would the Enninful of that era think of the his current self? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."