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

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the Blair era, currently a different political figure stands as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music.

"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would define a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, 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 individuals from varied communities. Critically, sales increased.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to challenges, including publicly shared periods of depression and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable 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 afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has led him beyond the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"Institutions didn't always shine a light on the most relevant talents because they did not have the traditional credentials," he states.

The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful cultural influencers. His path, he feels, is a demonstration to the power of pursuing your passions.

What would the younger Edward think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."