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

An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is in good company. Recently, a longing look back 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 says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the resurgence of nationalist groups, the reaction against social awareness, and the return of narrow beauty standards. In place of the hope of the late 90s, today a different political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.

For Enninful, the solution has long been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from literature.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would define a pioneering career characterised by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, 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 rose.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective on the inside and the outside."

Defying the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His life has involved hardship, including openly discussed battles with mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has inspired him beyond the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Institutions often failed to promote the right artists because they weren't of the traditional credentials," he states.

The magazine 72 itself functions with a different 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."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful industry leaders. His story, he feels, is a proof to the power of pursuing your passions.

How would the Enninful of that era think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time 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 fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."