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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the rise of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, now a different political personality appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the response has long been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from music.

"People with a voice should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career built on boldness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has included its share of challenges, including well-documented periods of depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has led him away from the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Institutions often failed to promote the right artists because they did not have the right pedigree," he observes.

This venture itself operates on a different approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential cultural influencers. His path, he feels, is a proof to the power of pursuing your passions.

What would the Enninful of that era react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."