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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. But since that time, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the rise of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, now a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

In Enninful's view, the antidote has long been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from music.

"Those in a position of influence should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this moment will end."

The Younger Generation's Awareness

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 groundbreaking career characterised by fearlessness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up 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 painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of adversity, including publicly shared struggles with mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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 figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him away from the realm that made his name. He is now curating a major 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 evoke the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Galleries didn't always promote the most relevant talents because they lacked the expected background," he states.

This project itself functions with a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

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

What would the Edward of the 90s react to the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly 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."