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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the optimism of the Blair era, now a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from politics.

"Those in a position of influence should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will pass."

The Younger Generation's Awareness

He takes comfort 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 define a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including well-documented struggles with mental health and addiction.

He has also undergone serious health issues, 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 exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him beyond the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"The establishment didn't always celebrate the truly innovative creators because they lacked the traditional credentials," he states.

This venture itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

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

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."