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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. 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 socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. However since that time, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the rise of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a different political personality looms as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from literature.

"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this phase will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would forge a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has involved challenges, including publicly shared battles with mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. 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 confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him outside the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Galleries didn't always celebrate the most relevant talents because they weren't of the traditional credentials," he comments.

The magazine 72 itself operates on a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of pursuing your passions.

What would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."