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

A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the height 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 knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the growth of far-right politics, the backlash against progressive values, and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, now a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the antidote has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from politics.

"People with a voice should wield it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this moment will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would define a pioneering career built on boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

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

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including openly discussed periods of depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they lacked the expected background," he states.

This venture itself functions with a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential creative power brokers. His path, he feels, is a testament to the power of following your instincts.

How would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."