The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, now a different political figure stands as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has long been to celebrate 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 portrait of modern Britain, showcasing a broad spectrum of influential figures from music.

"Those in a position of influence should use it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this period will end."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a pioneering career characterised by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective between worlds."

Defying the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has involved challenges, including well-documented battles with mental health and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, 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 figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has propelled him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he observes.

This project itself operates on a novel strategy, forgoing 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 a piece within a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a testament to the power of following your instincts.

What would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."