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

A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the height 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 understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, currently a different political force stands as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

According to Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from music.

"People with a voice should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this moment will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would define a trailblazing career marked by boldness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is calm and exudes calm. His path has involved hardship, including well-documented battles with mental health and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all 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 world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"The establishment didn't always shine a light on the most relevant talents because they weren't of the expected background," he comments.

The magazine 72 itself uses a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful industry leaders. His path, he feels, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."