The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the growth of nationalist groups, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the late 90s, today a more divisive political figure stands as a potential leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the response has long been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from politics.

"Those in a position of influence should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this moment will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would forge a pioneering career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective between worlds."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including well-documented periods of mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, terrified I was going to go blind. 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 pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"Institutions didn't always shine a light on the right artists because they lacked the right pedigree," he comments.

This venture itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

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

What would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, 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 no obstacle is too great once I’ve set my intention to do something."