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

A chance encounter while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, today a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the solution has long 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 snapshot of modern Britain, showcasing a diverse array of cultural icons from music.

"Individuals with a platform should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this period will end."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a pioneering career marked by boldness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including publicly shared struggles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, not working, 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 do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"The establishment didn't always shine a light on the truly innovative creators because they lacked the right pedigree," he observes.

This venture itself operates on a unique business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most influential industry leaders. His story, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."