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

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the return of narrow beauty standards. Where once there was the hope of the late 90s, now a more divisive political force appears as a possible leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has long been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from art.

"Those in a position of influence should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this moment will pass."

Hope in the Next Generation

He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would define a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His path has included its share of hardship, including publicly shared struggles with depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful 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 realm 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 explains, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"Galleries didn't always promote the right artists because they lacked the traditional credentials," he comments.

This venture itself operates on a different business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful creative power brokers. His journey, he states, is a proof to the power of pursuing your passions.

How would the Edward of the 90s react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."