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

A chance encounter while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the peak of the Young British Artists – 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 great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Recently, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the growth of far-right politics, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political force looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has always been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from literature.

"Individuals with a platform should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this period will end."

Hope in the Next Generation

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would define a groundbreaking career characterised by boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His life has not been immune to challenges, including well-documented battles with mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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."

A Foray into Curation

This determination to be typecast has inspired him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"The establishment sometimes neglected to celebrate the right artists because they lacked the expected background," he states.

The magazine 72 itself operates on a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential cultural influencers. His journey, he feels, is a testament to the power of following your instincts.

How would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we fled our country. 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 made up my mind to do something."