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

An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered 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 miss that energy."

Although Enninful appears sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the growth of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the previous decade, currently a different political figure stands as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from music.

"People with a voice should use it," he asserts, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this period will fade."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His life has involved hardship, including openly discussed battles with depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, 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 fashion person."

Curating a Cultural Era

This drive to fit into a box has inspired him outside the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"The establishment didn't always celebrate the most relevant talents because they did not have the right pedigree," he comments.

The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful industry leaders. His path, he believes, is a demonstration to the power of defying expectations.

How would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."