The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting during a tube journey 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 vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, now a more divisive political force appears as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again.

For Enninful, the response has long been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music.

"Those in a position of influence should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this moment will end."

A New Wave of Consciousness

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

The beginnings of his career would shape a groundbreaking career characterised by boldness and diversity. Enninful set a precedent 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 time featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including openly discussed struggles with depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him away from the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he observes.

This project itself uses a different approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

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

How would the Enninful of that era think of the his current self? He smiles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."