The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled 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 zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears sentimental, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the hope of the Blair era, today a more divisive political force stands as a possible leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the solution has long been to celebrate culture in all its multifaceted forms. 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 art.

"Those in a position of influence should wield it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming 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 pass."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would forge a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His life has included its share of challenges, including openly discussed battles with depression and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has propelled him away from the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they lacked the traditional credentials," he comments.

This venture itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a testament to the power of defying expectations.

What would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."