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

An unexpected discovery on the London Underground in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "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 yearn for that energy."

While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the Blair era, now a more divisive political force stands as a potential 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 driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from art.

"Those in a position of influence should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this period will end."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware 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 gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has involved hardship, including well-documented struggles with mental health and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a dark place 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 vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has propelled him away from the realm that established him. 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 says, aims to capture the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Institutions didn't always celebrate the right artists because they weren't of the expected background," he states.

This project itself uses a different approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of following your instincts.

What would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."