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

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met 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 long for that energy."

Although Enninful appears wistful, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a different political personality appears as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

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

"Those in a position of influence should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will end."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."

Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His life has involved challenges, including openly discussed battles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, anxious 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 is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has led him away from the industry that built his career. 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 notes, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he comments.

This project itself operates on a novel approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

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

What would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."