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 course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds wistful, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the rise of populist movements, the pushback against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the previous decade, today a different political personality looms as a potential leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.

For Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from politics.

"Those in a position of influence should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

The beginnings of his career would forge a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

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

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity between worlds."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of adversity, including publicly shared battles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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 figure in fashion."

A Foray into Curation

This drive to fit into a box has propelled him away from the world that established him. He is now curating a seminal 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 evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"The establishment didn't always celebrate the truly innovative creators because they weren't of the expected background," he states.

The magazine 72 itself functions with a unique business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most influential creative power brokers. His path, he states, is a testament to the power of defying expectations.

How would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."