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

A serendipitous meeting during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the rise of far-right politics, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, today a different political personality looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has always been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from literature.

"People with a voice should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this period will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."

The beginnings of his career would define a pioneering career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the popular image of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His life has not been immune to challenges, including well-documented periods of depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has led him outside the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he observes.

This venture itself uses a different approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a proof to the power of following your instincts.

How would the Edward of the 90s think of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."