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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a more divisive political figure stands as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has long been to celebrate 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 snapshot of modern Britain, showcasing a broad spectrum of influential figures from politics.

"Individuals with a platform should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

His formative years would shape a pioneering career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His life has involved adversity, including well-documented struggles with depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has inspired him beyond the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he states.

This project itself functions with a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era make of the his current self? He smiles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."