The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the rise of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has always been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from politics.

"People with a voice should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will pass."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career characterised by fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales grew.

"To overlook huge sections of the population, it’s more than 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 accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. 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 both an insider and outsider."

In contrast to 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 adversity, including openly discussed battles with depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "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 live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has propelled him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the right pedigree," he observes.

This venture itself functions with a unique approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of pursuing your passions.

What would the younger Edward make of the man he has become? He chuckles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."