The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, currently a different political force stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the antidote 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 snapshot of modern Britain, featuring a wide range of cultural icons from art.

"Individuals with a platform should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this period will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would define a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including openly discussed periods of depression and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has led him outside the realm that established him. He is now curating 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 artistic collaboration – and highlight those who lacked adequate attention at the time.

"The establishment didn't always celebrate the most relevant talents because they lacked the expected background," he states.

This venture itself uses a novel approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most influential creative power brokers. His story, he believes, is a testament to the power of defying expectations.

What would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."