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

An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

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

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 believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, currently a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from politics.

"Those in a position of influence should use it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this phase will end."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

His formative years would shape a pioneering career built on boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

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

"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, including openly discussed battles with depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period 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 vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has led him outside the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Galleries sometimes neglected to shine a light on the right artists because they weren't of the expected background," he comments.

This project itself uses a unique strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most influential industry leaders. His story, he feels, is a testament to the power of pursuing your passions.

What would the Enninful of that era react to the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."