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 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi 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."

While Enninful may seem wistful, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. But since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the resurgence of nationalist groups, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political figure looms as a possible leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution has long been to celebrate 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 portrait of modern Britain, including a wide range of prominent faces from literature.

"People with a voice should wield 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 home and an opportunity. That’s the Britain I cherished. I trust this moment will pass."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including publicly shared struggles with mental health and addiction.

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

Curating a Cultural Era

This determination to fit into a box has propelled him away from the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to celebrate the right artists because they did not have the traditional credentials," he states.

The magazine 72 itself uses a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of pursuing your passions.

What would the Edward of the 90s react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."