The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is difficult to overlook: the rise of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the late 90s, currently a more divisive political figure stands as a possible leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has consistently been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from politics.

"Individuals with a platform should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will end."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would forge a groundbreaking career characterised by fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity between worlds."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of hardship, including openly discussed battles with mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has propelled him away from the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.

"Galleries didn't always shine a light on the truly innovative creators because they lacked the expected background," he comments.

This venture itself functions with a different strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of pursuing your passions.

How would the Enninful of that era think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."