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

An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "I feel, 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 difficult to overlook: the rise of populist movements, the pushback against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, now a different political figure appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from politics.

"People with a voice should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will end."

A New Wave of Consciousness

He finds hope in the next generation: "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 marked by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including publicly shared periods of depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has inspired him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the expected background," he comments.

This project itself uses a unique business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

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

How would the Edward of the 90s make of the his current self? He smiles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."