Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the growth of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, today a different political force appears as a potential leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from art.

"Those in a position of influence should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will end."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a trailblazing career built on boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.

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

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including well-documented struggles with mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has led him beyond the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining 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 due recognition at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they lacked the right pedigree," he states.

The magazine 72 itself operates on a different strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most influential industry leaders. His journey, he states, is a demonstration to the power of following your instincts.

What would the younger Edward react to the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."