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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the height 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 understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the rise of far-right politics, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a different political personality appears as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.

For Enninful, the antidote has long been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from music.

"People with a voice should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

His formative years would define a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has involved adversity, including openly discussed battles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured 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 prayed, if this ever is over, 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 fashion person."

Curating a Cultural Era

This refusal to fit into a box has propelled him outside the world that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of influential 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 a spotlight at the time.

"The establishment didn't always promote the right artists because they lacked the right pedigree," he states.

This project itself uses a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

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

How would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing 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."