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

A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels 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 a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the optimism of the Blair era, now a different political figure appears as a possible leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more.

According to Enninful, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from art.

"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will fade."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career marked by boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Defying the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including openly discussed periods of mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has led him outside the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

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

This venture itself uses a different strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful creative power brokers. His story, he feels, is a testament to the power of defying expectations.

What would the Edward of the 90s react to the his current self? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."