The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the zenith of the YBA movement – 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 kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, today a different political personality appears as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has consistently been to promote 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 celebration of modern Britain, showcasing a wide range of prominent faces from art.

"Those in a position of influence should employ it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

His formative years would shape a trailblazing career built on fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, 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 stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has involved hardship, including well-documented struggles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a difficult period 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 thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has propelled him away from the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"Galleries often failed to shine a light on the truly innovative creators because they did not have the expected background," he states.

This project itself operates on a different approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of following your instincts.

What would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."