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

An unexpected discovery while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears wistful, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the growth of far-right politics, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, now a more divisive political personality looms as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more.

According to Enninful, the response has always been to promote 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 celebration of modern Britain, including a diverse array of prominent faces from art.

"Individuals with a platform should employ it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will pass."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales increased.

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

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Defying the popular image of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved adversity, including well-documented periods of mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has led him away from the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment didn't always shine a light on the right artists because they lacked the right pedigree," he observes.

The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential creative power brokers. His path, he believes, is a proof to the power of pursuing your passions.

How would the Enninful of that era react to the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."