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

An unexpected discovery during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the growth of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the late 90s, currently a more divisive political personality looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

For Enninful, the antidote has long been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from literature.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would forge a trailblazing career built on boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity both an insider and outsider."

Defying the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His path has included its share of adversity, including openly discussed battles with mental health and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured 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 prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has propelled him outside the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Institutions often failed to celebrate the most relevant talents because they lacked the right pedigree," he comments.

The magazine 72 itself functions with a different business model, 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 one component of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential cultural influencers. His path, he feels, is a proof to the power of defying expectations.

How would the Enninful of that era think of the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."