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

An unexpected discovery on the London Underground in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the growth of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, currently a different political figure looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the antidote has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from art.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will end."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

His formative years would shape a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales increased.

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

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His journey has included its share of adversity, including publicly shared battles with depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has led him beyond the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.

"Galleries sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he states.

The magazine 72 itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

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

How would the younger Edward think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."