The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, 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 regression is difficult to overlook: the rise of populist movements, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the late 90s, now a more divisive political figure appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has consistently been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from literature.

"Individuals with a platform should use it," he asserts, 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 believed in. I believe this phase will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including openly discussed struggles with depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has inspired him beyond the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.

"The establishment often failed to celebrate the truly innovative creators because they did not have the right pedigree," he observes.

This venture itself uses a novel approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected cultural influencers. His path, he feels, is a testament to the power of pursuing your passions.

What would the Enninful of that era react to the man he has become? 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 a place for someone like me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."