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

A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the rise of populist movements, the reaction against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, today a different political force appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from politics.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this phase will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would shape a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire 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 physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being on the inside and the outside."

Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to hardship, including openly discussed periods of depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has inspired him beyond the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Institutions didn't always shine a light on the right artists because they did not have the traditional credentials," he observes.

This venture itself operates on a unique business model, eschewing 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 part of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."