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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the height of the Britart scene – 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 rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the growth of nationalist groups, the pushback against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the late 90s, currently a different political personality appears as a possible leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

According to Enninful, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from politics.

"People with a voice should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this moment will fade."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would forge a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including openly discussed battles with mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has led him outside the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"The establishment often failed to promote the most relevant talents because they weren't of the traditional credentials," he comments.

The magazine 72 itself uses a unique approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he believes, is a demonstration to the power of defying expectations.

How would the younger Edward think of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."