The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting while riding the tube in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, now a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

For Enninful, the antidote has consistently been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from politics.

"People with a voice should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this moment will end."

The Younger Generation's Awareness

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

His formative years would forge a pioneering career built on fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to adversity, including publicly shared periods of mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has inspired him outside the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the traditional credentials," he states.

This venture itself operates on a novel business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential cultural influencers. His path, he states, is a testament to the power of defying expectations.

What would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."