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

A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the growth of populist movements, the reaction against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the previous decade, today a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has long been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from literature.

"People with a voice should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this moment will end."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

His formative years would forge a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

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

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to challenges, including openly discussed battles with mental health and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful 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 be typecast has propelled him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host 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 lacked adequate attention at the time.

"Institutions didn't always promote the right artists because they weren't of the right pedigree," he comments.

This project itself operates on a unique business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful industry leaders. His path, he states, is a proof to the power of pursuing your passions.

How would the Enninful of that era think of the his current self? He chuckles. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."