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

An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the reaction against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has always been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from music.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this moment will fade."

Hope in the Next Generation

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

Those early experiences would forge a pioneering career marked by boldness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched 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 "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being between worlds."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His life has involved adversity, including openly discussed periods of depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to 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 afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has propelled him beyond the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"The establishment sometimes neglected to shine a light on the right artists because they did not have the expected background," he states.

This venture itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential creative power brokers. His path, he feels, is a demonstration to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He smiles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."