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

An unexpected discovery during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the Blair era, now a different political force stands as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has always been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics.

"People with a voice should wield it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this moment will pass."

A New Wave of Consciousness

He takes comfort in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would forge a pioneering career marked by fearlessness and inclusivity. Enninful made history 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 landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, penniless, 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 suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has involved adversity, including publicly shared periods of depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, away from work, 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 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 fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him away from the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Galleries often failed to celebrate the right artists because they weren't of the right pedigree," he states.

The magazine 72 itself operates on a novel approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential industry leaders. His journey, he feels, is a demonstration to the power of following your instincts.

How would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."