The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met 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 rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the rise of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. Replacing the hope of the Blair era, currently a more divisive political personality stands as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has long been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from politics.

"Those in a position of influence should use it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will end."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would shape a groundbreaking career built on boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has not been immune to adversity, including openly discussed periods of mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 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 limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Institutions didn't always celebrate the most relevant talents because they lacked the expected background," he states.

This venture itself uses a unique strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected cultural influencers. His journey, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s make of the his current self? He smiles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."