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 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the rise of populist movements, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a more divisive political force stands as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has consistently been to promote 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 snapshot of modern Britain, showcasing a broad spectrum of influential figures from art.

"Those in a position of influence should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this period will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective both an insider and outsider."

Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has included its share of challenges, including openly discussed battles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has propelled him beyond the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Galleries didn't always celebrate the truly innovative creators because they did not have the right pedigree," he observes.

The magazine 72 itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential cultural influencers. His journey, he states, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."