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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the resurgence of far-right politics, the pushback against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the late 90s, today a different political personality stands as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has always been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from art.

"People with a voice should wield it," he says, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this moment will end."

Hope in the Next Generation

He takes comfort in the next generation: "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 groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales rose.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. 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 … all that gave me a dual identity between worlds."

Defying the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His path has involved hardship, including well-documented battles with depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"Institutions sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he states.

The magazine 72 itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential cultural influencers. His journey, he states, is a testament to the power of defying expectations.

What would the younger Edward make of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."