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 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the growth of far-right politics, the backlash against progressive values, and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, today a different political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from literature.

"Those in a position of influence should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this period will end."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career characterised by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His life has included its share of adversity, including publicly shared periods of mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all 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 determination to be defined narrowly has led him beyond the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"The establishment sometimes neglected to promote the most relevant talents because they did not have the traditional credentials," he states.

This project itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of following your instincts.

How would the Edward of the 90s think of the man he has become? He chuckles. "He would be astonished, but he’d be proud. At that time I was a rebel. 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 nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."