The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This change is increasingly evident: the rise of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, now a different political figure appears as a possible leader. Even, the British flag, 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 core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from politics.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this moment will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

His formative years would define a trailblazing career characterised by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to adversity, including well-documented battles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, fearing 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 ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has propelled him beyond the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"Galleries often failed to shine a light on the right artists because they lacked the expected background," he comments.

This project itself functions with a different strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most powerful industry leaders. His story, he feels, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s think of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."