The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the resurgence of populist movements, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the late 90s, currently a different political figure stands as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"People with a voice should use it," he asserts, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this period will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His journey has involved challenges, including openly discussed battles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, 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 typecast has inspired him away from the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they did not have the right pedigree," he observes.

This venture itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

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

What would the Enninful of that era react to the man he has become? He smiles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."