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 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the growth of far-right politics, the reaction against social awareness, and the return of narrow beauty standards. Replacing the hope of the late 90s, now a different political personality stands as a potential leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from music.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this period will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved hardship, including well-documented battles with depression and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has led him beyond the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries often failed to promote the truly innovative creators because they lacked the traditional credentials," he observes.

This project itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he believes, is a proof to the power of following your instincts.

How would the Enninful of that era make of the his current self? He smiles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."