The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the rise of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, today a different political figure appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has become contentious again.

In Enninful's view, the solution has always been to promote 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 portrait of modern Britain, including a wide range of cultural icons from literature.

"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this phase will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a trailblazing career built on boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. 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 stopped by the police the suspicion laws … all that gave me a dual identity between worlds."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His life has included its share of challenges, including well-documented struggles with mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has inspired him outside the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Institutions didn't always celebrate the truly innovative creators because they lacked the expected background," he comments.

This venture itself operates on a novel strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

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

How would the Enninful of that era think of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."