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

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 capital's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is difficult to overlook: the growth of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the previous decade, currently a more divisive political figure stands as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has long been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from literature.

"Those in a position of influence should employ it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this period will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would shape a groundbreaking career built on fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has involved 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, leading to partial sight. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has led him outside the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Institutions didn't always promote the right artists because they lacked the traditional credentials," he comments.

This project itself uses a different approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions.

What would the younger Edward make of the man he has become? He smiles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."