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

An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a different political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the antidote has long been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from literature.

"Individuals with a platform should wield it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would forge a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including publicly shared periods of mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced 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 exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him away from the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"Institutions often failed to shine a light on the right artists because they did not have the expected background," he comments.

The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, 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 respected cultural influencers. His path, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."