The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the zenith of the YBA movement – 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 spontaneity."

While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the growth of nationalist groups, the pushback against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, today a more divisive political force appears as a potential leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the solution has long been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from art.

"People with a voice should use it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this moment will end."

Hope in the Next Generation

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

The beginnings of his career would shape a trailblazing career built on boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is calm and projects peace. His journey has included its share of hardship, including well-documented periods of mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has propelled him away from the industry that made his name. He is now putting together a seminal 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 creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to promote the right artists because they did not have the expected background," he comments.

This venture itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected industry leaders. His journey, he states, is a testament to the power of defying expectations.

How would the Enninful of that era react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."