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

An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the rise of populist movements, the reaction against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, currently a more divisive political force appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has long been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from music.

"People with a voice should use it," he says, discussing those editorial decisions. "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 cherished. I hope this phase will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would define a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.

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

Beyond the Magazine World

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

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Defying the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His journey has involved hardship, including openly discussed periods of depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, 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 fashion person."

The Tate Britain Exhibition

This refusal to be typecast has inspired him outside the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"Galleries often failed to promote the right artists because they lacked the right pedigree," he observes.

This project itself functions with a novel approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of pursuing your passions.

How would the Enninful of that era make of the his current self? He smiles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."