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

A serendipitous meeting on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the return of narrow beauty standards. Replacing the hope of the previous decade, today a different political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from music.

"Individuals with a platform should wield it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to adversity, including openly discussed battles with mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has led him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they did not have the right pedigree," he observes.

This project itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

What would the Edward of the 90s react to the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."