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

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

If Enninful sounds wistful, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the rise of populist movements, the backlash against progressive values, and the return of traditional beauty standards. In place of the optimism of the previous decade, now a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the antidote has always 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 portrait of modern Britain, featuring a broad spectrum of influential figures from literature.

"Those in a position of influence should use it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of challenges, including well-documented battles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar 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 afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has inspired him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he observes.

The magazine 72 itself operates on a novel business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of defying expectations.

How would the Enninful of that era react to the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."