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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the resurgence of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. In place of the optimism of the Blair era, currently a different political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the response has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from art.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here 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 always loved. I believe this period will pass."

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 didn't even know what that was."

His formative years would define a trailblazing career characterised by boldness and representation. Enninful made history 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 leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds."

Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His path has not been immune to adversity, including well-documented struggles with mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has inspired him outside the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"The establishment didn't always shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.

The magazine 72 itself operates on a unique approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he believes, is a proof to the power of following your instincts.

How would the Edward of the 90s think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."