The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is difficult to overlook: the growth of populist movements, the backlash against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the late 90s, today a different political personality looms as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

According to Enninful, the solution has long been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from music.

"Individuals with a platform should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this moment will end."

A New Wave of Consciousness

He draws solace in the next generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would forge a pioneering career characterised by boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers declared 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 on the inside and the outside."

Defying the caricature of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of challenges, including well-documented periods of mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, 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 figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has propelled him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"The establishment didn't always shine a light on the truly innovative creators because they lacked the right pedigree," he states.

The magazine 72 itself functions with a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

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

How would the Enninful of that era think of the his current self? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."