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

An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives 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."

Shifting Attitudes

This regression is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a more divisive political personality looms as a potential leader. Even, the British flag, once an badge of national pride, has sparked debate once more.

For Enninful, the solution has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from literature.

"Individuals with a platform should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this period will fade."

The Younger Generation's Awareness

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

The beginnings of his career would shape a groundbreaking career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his creative company 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".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of challenges, including well-documented battles with mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has propelled him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"Galleries didn't always celebrate the right artists because they weren't of the expected background," he observes.

The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful cultural influencers. His story, he states, is a proof to the power of following your instincts.

How would the younger Edward make of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."