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 trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the resurgence of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. Replacing the hope of the late 90s, currently a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

In Enninful's view, the response has consistently been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from literature.

"People with a voice should wield it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this period will end."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would define a pioneering career built on boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His life has involved adversity, including publicly shared periods of depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. 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 pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has propelled him outside the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Galleries often failed to promote the most relevant talents because they did not have the traditional credentials," he comments.

This project itself functions with a different approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he states, is a testament to the power of defying expectations.

What would the younger Edward think of the his current self? He smiles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."