The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered 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 zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. However since that time, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the growth of populist movements, the reaction against progressive values, and the return of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has long been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from music.

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

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

His formative years would shape a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose.

"To overlook 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 new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including well-documented periods of mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, 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."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him away from the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Galleries didn't always shine a light on the truly innovative creators because they weren't of the right pedigree," he states.

This venture itself operates on a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he believes, is a demonstration to the power of following your instincts.

What would the Edward of the 90s react to the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."