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 transformed the path 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 style editor of i-D magazine.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the growth of nationalist groups, the pushback against progressive values, and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a different political figure stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has long been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from art.

"People with a voice should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will fade."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would forge a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of hardship, including well-documented battles with mental health and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, 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."

Curating a Cultural Era

This determination to fit into a box has inspired him beyond the world that established him. 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 says, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"Institutions didn't always celebrate the right artists because they lacked the right pedigree," he states.

The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a testament to the power of following your instincts.

What would the Edward of the 90s react to the his current self? He chuckles. "He’d be in shock, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."