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 teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the zenith 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 felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful believes a significant change. "I believe, 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 regression is difficult to overlook: the rise of far-right politics, the backlash against progressive values, and the reinforcement of traditional beauty standards. Replacing the hope of the previous decade, now a different political figure looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

According to Enninful, the response has always been to champion 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 celebration of modern Britain, showcasing a wide range of prominent faces from art.

"People with a voice should employ it," he comments, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this phase will fade."

The Younger Generation's Awareness

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."

The beginnings of his career would shape a trailblazing career built on boldness and inclusivity. Enninful broke barriers 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 diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."

Defying the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has involved challenges, including openly discussed struggles with depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him outside the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"Galleries often failed to promote the most relevant talents because they weren't of the expected background," he observes.

The magazine 72 itself functions with a different approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of defying expectations.

How would the Edward of the 90s make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."