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

A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "I believe, 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 increasingly evident: the growth of populist movements, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has always been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from music.

"People with a voice should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would forge a groundbreaking career marked by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under 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 temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including publicly shared struggles with depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has led him away from the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries didn't always promote the truly innovative creators because they did not have the expected background," he comments.

This project itself uses a different approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

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

How would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "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 counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."