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

A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of nationalist groups, the reaction against progressive values, and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, today a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, 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 portrait of modern Britain, including a broad spectrum of influential figures from music.

"People with a voice should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. 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 talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would define a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has involved adversity, including well-documented periods of mental health and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "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 prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has propelled him away from the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"The establishment didn't always celebrate the most relevant talents because they weren't of the expected background," he observes.

This venture itself operates on a novel approach, 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 one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a demonstration to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."