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

An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, currently a different political figure looms as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from art.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will end."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a pioneering career characterised by boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up 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 very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has not been immune to adversity, including publicly shared battles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, away from work, 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 passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

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

"The establishment didn't always promote the most relevant talents because they did not have the expected background," he observes.

The magazine 72 itself operates on a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential cultural influencers. His story, he believes, is a proof to the power of defying expectations.

How would the younger Edward make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."