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

A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful believes a significant change. "I believe, 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 regression is increasingly evident: the rise of far-right politics, the reaction against progressive values, and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, currently a more divisive political personality looms as a possible leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has always been to celebrate 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 snapshot of modern Britain, featuring a wide range of influential figures from politics.

"People with a voice should use it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this moment will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would define a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity between worlds."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has involved adversity, including openly discussed periods of mental health and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has inspired him away from the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he states.

The magazine 72 itself uses a novel business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful industry leaders. His journey, he states, is a proof to the power of following your instincts.

What would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. At that time 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 fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."