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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the Blair era, now a more divisive political figure stands as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the antidote has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from art.

"Those in a position of influence should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this period will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would define a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His journey has involved challenges, including publicly shared struggles with mental health and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has led him outside the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries didn't always promote the truly innovative creators because they lacked the traditional credentials," he comments.

This project itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he feels, is a demonstration to the power of following your instincts.

How would the Edward of the 90s think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."