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 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the rise of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. In place of the optimism of the previous decade, currently a different political figure stands as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has consistently been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from literature.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will fade."

The Younger Generation's Awareness

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

Those early experiences would forge a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales increased.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including well-documented struggles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has inspired him away from the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the right pedigree," he comments.

This project itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

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

How would the Enninful of that era think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost 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 set my intention to do something."