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

A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the growth of populist movements, the reaction against social awareness, and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, now a more divisive political personality appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the response has consistently been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from politics.

"Individuals with a platform should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this phase will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His path has involved hardship, including well-documented struggles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, 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 figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has led him away from the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Galleries sometimes neglected to shine a light on the right artists because they did not have the expected background," he observes.

This venture itself uses a novel business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

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

What would the younger Edward think of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."