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

An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the return of narrow beauty standards. In place of the optimism of the late 90s, now a more divisive political personality appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has consistently been to champion 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 snapshot of modern Britain, featuring a diverse array of cultural icons from art.

"Those in a position of influence should employ it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would define a pioneering career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including openly discussed struggles with mental health and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has led him beyond the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of defining 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 sometimes neglected to shine a light on the truly innovative creators because they lacked the right pedigree," he comments.

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

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential industry leaders. His journey, he feels, is a testament to the power of pursuing your passions.

What would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing 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 decided to do something."