The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the rise of far-right politics, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the late 90s, now a more divisive political personality appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from art.

"People with a voice should wield it," he asserts, explaining those editorial decisions. "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 home and an education. That’s the Britain I cherished. I hope this phase will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would define a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to adversity, including publicly shared periods of depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has propelled him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"The establishment didn't always celebrate the most relevant talents because they did not have the traditional credentials," he states.

The magazine 72 itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential cultural influencers. His story, he feels, is a demonstration to the power of defying expectations.

How would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."