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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

Although Enninful appears sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, now a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from music.

"People with a voice should wield it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will end."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being on the inside and the outside."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of challenges, including well-documented battles with mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s similar 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 scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has inspired him away from the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.

"The establishment didn't always promote the right artists because they did not have the expected background," he comments.

The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of defying expectations.

What would the Edward of the 90s think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."