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

An unexpected discovery while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the height 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 understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the resurgence of far-right politics, the backlash against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, today a more divisive political figure appears as a possible leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the solution has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from art.

"Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "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 define a trailblazing career characterised by boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. 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 the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Defying the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved adversity, including well-documented periods of mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured 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 prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has propelled him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal 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 due recognition at the time.

"Institutions often failed to shine a light on the most relevant talents because they did not have the traditional credentials," he observes.

This project itself functions with a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he believes, is a testament to the power of pursuing your passions.

How would the Edward of the 90s make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."