The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the return of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political personality stands as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.

For Enninful, the response has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from music.

"Individuals with a platform should use it," he says, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has involved adversity, including well-documented struggles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has led him beyond the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"The establishment didn't always shine a light on the most relevant talents because they did not have the right pedigree," he states.

This venture itself uses a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful cultural influencers. His journey, he states, is a testament to the power of pursuing your passions.

What would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."