The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, 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 YBA movement – 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 mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of narrow beauty standards. Replacing the hope of the previous decade, today a different political figure stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

In Enninful's view, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from politics.

"People with a voice should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would forge a pioneering career built on boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

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’ve always questioned the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has involved hardship, including well-documented periods of mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has led him outside the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"Galleries often failed to promote the most relevant talents because they lacked the traditional credentials," he observes.

This venture itself functions with a unique strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

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

How would the Edward of the 90s think of the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."