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

A chance encounter on the London Underground in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the zenith 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 close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the rise of far-right politics, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, now a more divisive political figure stands as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the response has long been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from politics.

"Individuals with a platform should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this moment will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."

Defying the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has involved challenges, including well-documented battles with mental health and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has propelled him outside the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Galleries didn't always promote the right artists because they weren't of the expected background," he states.

This venture itself functions with a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s react to the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."