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

A serendipitous meeting during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. 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 hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the rise of far-right politics, the pushback against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the previous decade, now a more divisive political figure appears as a possible leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has long been to champion 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 portrait of modern Britain, showcasing a diverse array of prominent faces from art.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this moment will fade."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would shape a trailblazing career built on fearlessness and inclusivity. 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 historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His journey has involved hardship, including well-documented periods of mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, anxious 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 is over, 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."

Curating a Cultural Era

This drive to be defined narrowly has led him outside the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of defining 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 lacked due recognition at the time.

"Galleries often failed to promote the truly innovative creators because they did not have the expected background," he observes.

This venture itself functions with a different approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he states, is a testament to the power of pursuing your passions.

How would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."