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 changed forever the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director 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 knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the resurgence of far-right politics, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a different political figure appears as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has long been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from art.

"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this phase will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including openly discussed struggles with mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has propelled him outside the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Institutions often failed to promote the right artists because they lacked the expected background," he observes.

This project itself functions with a novel approach, rejecting 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 a piece within a larger creative platform."

A Testament to Resilience

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

What would the younger Edward think of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."