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 course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, today a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the response has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from literature.

"People with a voice should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will fade."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would forge a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His life has involved adversity, including publicly shared struggles with depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, 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 fashion person."

A Foray into Curation

This drive to fit into a box has inspired him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"The establishment didn't always celebrate the most relevant talents because they weren't of the expected background," he comments.

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

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a demonstration to the power of defying expectations.

What would the younger Edward make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were necessarily for 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 counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."