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 changed forever the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, now a different political personality appears as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the antidote 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, including a wide range of influential figures from music.

"People with a voice should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this period will fade."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would forge a pioneering career characterised by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has involved hardship, including publicly shared battles with depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has propelled him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Galleries often failed to promote the most relevant talents because they weren't of the traditional credentials," he observes.

This venture itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful industry leaders. His path, he states, is a demonstration to the power of following your instincts.

What would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."