The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the peak 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 kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political force stands as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has always been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from literature.

"Those in a position of influence should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "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 groundbreaking career built on boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Defying the popular image of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved hardship, including publicly shared battles with depression and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, not working, terrified 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 confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him outside the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.

"Institutions often failed to shine a light on the right artists because they did not have the expected background," he states.

This project itself operates on a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era react to the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."