The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the growth of populist movements, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, currently a different political force stands as a potential leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from literature.

"Those in a position of influence should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this period will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would forge a groundbreaking career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including publicly shared periods of depression and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has inspired him away from the realm that made his name. He is now organising a seminal 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 capture the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"The establishment didn't always celebrate the truly innovative creators because they did not have the right pedigree," he states.

This project itself functions with a different strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential cultural influencers. His journey, he believes, is a testament to the power of following your instincts.

What would the Enninful of that era react to the man he has become? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."