The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

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

While Enninful may seem wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

According to Enninful, the response has consistently been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from literature.

"Those in a position of influence should employ it," he says, explaining those publishing choices. "People often debate 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 education. That’s the Britain I believed in. I believe this moment will pass."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

His formative years would shape a trailblazing career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.

"To overlook huge sections 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 established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including publicly shared battles with mental health and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has led him beyond the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Galleries often failed to celebrate the truly innovative creators because they did not have the expected background," he observes.

This venture itself operates on a unique strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

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

How would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."