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

A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. 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 bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less accepting 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 far-right politics, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the late 90s, now a different political personality appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from literature.

"Those in a position of influence should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this moment will end."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would define a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including openly discussed periods of depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has inspired him beyond the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"Galleries didn't always shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments.

This project itself operates on 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 part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful operates as one of the world's most influential cultural influencers. His journey, he believes, is a demonstration to the power of pursuing your passions.

How would the younger Edward think of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."