The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

While Enninful may seem wistful, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the resurgence of nationalist groups, the pushback against progressive values, and the return of narrow beauty standards. Replacing the hope of the Blair era, now a different political personality appears as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution has long been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from literature.

"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this period will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career characterised by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the popular image of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has included its share of challenges, including publicly shared struggles with depression and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has propelled him outside the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"Institutions often failed to celebrate the most relevant talents because they weren't of the right pedigree," he states.

This venture itself functions with a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential cultural influencers. His story, he feels, is a testament to the power of following your instincts.

How would the Edward of the 90s make of the man he has become? He smiles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."