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 trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the resurgence of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political force looms as a possible leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the solution has long been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from music.

"People with a voice should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will pass."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would define a groundbreaking career characterised by boldness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Significantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

Defying the stereotype of industry figures as brash and temperamental, Enninful is calm and projects peace. His life has included its share of adversity, including well-documented struggles with depression and substance use.

He has also faced significant 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, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has led him beyond the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"Institutions often failed to shine a light on the most relevant talents because they did not have the right pedigree," he states.

This project itself operates on a different business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he states, is a testament to the power of pursuing your passions.

What would the younger Edward make of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost 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 set my intention to do something."