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

A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the growth of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the response has consistently been to promote 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, featuring a wide range of prominent faces from politics.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "Everyone talks 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 believed in. I trust this period will pass."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would define a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of hardship, including openly discussed struggles with depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable 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 scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has led him away from the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

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

This venture itself uses a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential cultural influencers. His path, he believes, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s react to the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."