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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, currently a more divisive political personality stands as a possible leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the response has long been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from art.

"Individuals with a platform should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this period will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His path has involved adversity, including well-documented struggles with mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has inspired him beyond the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the traditional credentials," he comments.

The magazine 72 itself operates on a different approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he believes, is a demonstration to the power of following your instincts.

What would the younger Edward think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."