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

A chance encounter on the London Underground in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the peak 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 felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the growth of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a different political figure looms as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the solution has always been to champion 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 wide range of prominent faces from politics.

"People with a voice should use it," he says, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this period will end."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would forge a groundbreaking career built on boldness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

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

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. 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 caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His path has involved challenges, including well-documented struggles with depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has propelled him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Institutions didn't always shine a light on the right artists because they weren't of the expected background," he observes.

This venture itself functions with a novel approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential creative power brokers. His path, he feels, is a demonstration to the power of following your instincts.

What would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."