The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the resurgence of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the response has always been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from art.

"People with a voice should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this period will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

His formative years would forge a trailblazing career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective between worlds."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has involved adversity, including publicly shared periods of depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, anxious 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 passes, 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 drive to fit into a box has led him away from the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing 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 weren't given due recognition at the time.

"The establishment sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he comments.

This project itself functions with a different strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected cultural influencers. His story, he states, is a demonstration to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we fled our country. 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 decided to do something."