The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the resurgence of nationalist groups, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a different political figure appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the antidote has long been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from art.

"Individuals with a platform should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will end."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would forge a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including publicly shared periods of mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they weren't of the expected background," he observes.

This project itself functions with a novel business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

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

How would the younger Edward think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."