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

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the rise of far-right politics, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political personality appears as a possible leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from music.

"People with a voice should employ it," he says, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will end."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would define a trailblazing career characterised by 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 assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. 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 both an insider and outsider."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His path has involved challenges, including openly discussed struggles with mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has led him beyond 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 notes, aims to capture the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he comments.

This project itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential creative power brokers. His path, he states, is a testament to the power of pursuing your passions.

How would the younger Edward react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."