The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting during a tube journey in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. Yet 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. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a different political force stands as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the response has consistently been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from literature.

"Individuals with a platform should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will end."

Hope in the Next Generation

He takes comfort in the younger 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 forge a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including well-documented struggles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, 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 figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has led him outside the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"Galleries didn't always promote the truly innovative creators because they weren't of the expected background," he states.

The magazine 72 itself uses a unique strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

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

What would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."