The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, today a different political force stands as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the solution has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from music.

"People with a voice should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would shape a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and projects peace. His path has involved challenges, including openly discussed struggles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has propelled him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"Galleries didn't always celebrate the right artists because they did not have the traditional credentials," he observes.

This venture itself operates on a novel business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions.

What would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."