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

An unexpected discovery during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the resurgence of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, now a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has always been to celebrate 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 influential figures from music.

"Those in a position of influence should use it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this moment will fade."

The Younger Generation's Awareness

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

Those early experiences would forge a pioneering career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. 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 lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective between worlds."

Defying the popular image of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has involved challenges, including openly discussed battles with depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to celebrate the right artists because they weren't of the right pedigree," he observes.

The magazine 72 itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential creative power brokers. His path, he states, is a proof to the power of defying expectations.

How would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. 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 came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."