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

A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the Blair era, currently a different political force appears as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.

According to Enninful, the antidote has always been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from art.

"People with a voice should wield it," he says, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this period will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."

His formative years would define a trailblazing career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

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

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has led him outside the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"Institutions didn't always celebrate the truly innovative creators because they weren't of the right pedigree," he observes.

This venture itself functions with a novel approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he believes, is a demonstration to the power of following your instincts.

How would the Enninful of that era react to the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."