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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the zenith 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 understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the previous decade, today a more divisive political force appears as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the antidote has always been to champion 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, featuring a diverse array of cultural icons from literature.

"Individuals with a platform should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this phase will pass."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

His formative years would forge a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

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

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including openly discussed battles with mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has led him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Galleries didn't always shine a light on the truly innovative creators because they did not have the right pedigree," he comments.

This venture itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he feels, is a demonstration to the power of following your instincts.

What would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, 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."