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

A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the rise of populist movements, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a different political figure looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from literature.

"Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this moment will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would shape a pioneering career marked by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His path has involved challenges, including openly discussed battles with mental health and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity 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 refusal to fit into a box has led him outside the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Institutions didn't always promote the most relevant talents because they weren't of the right pedigree," he observes.

This project itself operates on a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he states, is a testament to the power of following your instincts.

What would the younger Edward think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. 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 nothing can stop me once I’ve set my intention to do something."