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

A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the resurgence of nationalist groups, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a more divisive political personality looms as a possible leader. Even, the British flag, once an symbol of national pride, has become contentious again.

In Enninful's view, the antidote has consistently 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 celebration of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"Individuals with a platform should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a home 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 next generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."

Defying the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including openly discussed periods of mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, 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 figure in fashion."

Curating a Cultural Era

This drive to fit into a box has inspired him beyond the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the expected background," he observes.

This project itself operates on a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected cultural influencers. His story, he believes, is a demonstration to the power of following your instincts.

What would the Enninful of that era think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."