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

A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the backlash against progressive values, and the return of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political force looms as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has always been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from music.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were 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 phase will pass."

Hope in the Next Generation

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

Those early experiences would define a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds."

Defying the popular image of fashion editors as loud and temperamental, Enninful is measured in tone 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 significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, 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."

The Tate Britain Exhibition

This drive to be typecast has inspired him outside the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Institutions didn't always celebrate the most relevant talents because they weren't of the right pedigree," he comments.

This venture itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

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

What would the Edward of the 90s think of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."