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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era 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 felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears wistful, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the growth of far-right politics, the reaction against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has long been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from music.

"Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this phase will fade."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider."

Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved challenges, including openly discussed battles with mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to 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 fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has led him outside the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Institutions didn't always celebrate the truly innovative creators because they weren't of the traditional credentials," he observes.

The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions.

How would the Enninful of that era think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."