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 young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "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 spontaneity."

Although Enninful appears wistful, he is in good company. Lately, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, today a different political figure stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

According to Enninful, the antidote 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 snapshot of modern Britain, featuring a wide range of cultural icons from art.

"People with a voice should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this moment will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first male, 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 Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales rose.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His life has included its share of adversity, including publicly shared periods of mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. 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 pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has led him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he observes.

This project itself operates on a different strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

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

What would the younger Edward think of 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 within my reach."

He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."