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

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

If Enninful sounds sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the growth of far-right politics, the backlash against progressive values, and the reassertion of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the response has consistently been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from literature.

"People with a voice should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this period will fade."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would forge a pioneering career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, 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 people from all walks of life. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. 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 doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective between worlds."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of adversity, including publicly shared battles with depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has led him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment often failed to promote the most relevant talents because they did not have the right pedigree," he comments.

This project itself operates on a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected creative power brokers. His story, he believes, is a proof to the power of defying expectations.

How would the younger Edward react to the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."