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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the growth of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the previous decade, today a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from politics.

"Those in a position of influence should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this phase will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would define a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity between worlds."

Defying the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His path has involved adversity, including openly discussed periods of depression and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period 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 vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him away from the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he comments.

This venture itself operates on a different strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential cultural influencers. His story, he believes, is a testament to the power of defying expectations.

How would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."