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

An unexpected discovery while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a different political force stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the response has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"People with a voice should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this moment will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would forge a pioneering career built on fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds."

Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including well-documented struggles with mental health and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s similar to 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 afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has propelled him away from the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to promote the most relevant talents because they weren't of the expected background," he states.

This venture itself operates on a novel approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he states, is a proof to the power of following your instincts.

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. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."