The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

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

If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the rise of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from art.

"People with a voice should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will pass."

Hope in the Next Generation

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

The beginnings of his career would forge a trailblazing career marked by fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of challenges, including publicly shared periods of mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has inspired him away from the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Galleries often failed to shine a light on the right artists because they did not have the traditional credentials," he states.

The magazine 72 itself functions with a unique approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most powerful industry leaders. His path, he states, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He smiles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."