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

A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – 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 kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is not the only one. Lately, a longing look back of the 1990s has grown intense. But since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the growth of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, today a different political personality stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has long been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from art.

"Individuals with a platform should employ it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this period will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including well-documented struggles with depression and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "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 do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has propelled him away from the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to promote the most relevant talents because they did not have the traditional credentials," he states.

This venture itself functions with a novel approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a demonstration to the power of following your instincts.

What would the Enninful of that era think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."