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

An unexpected discovery on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the rise of far-right politics, the pushback against progressive values, and the return of traditional beauty standards. Replacing the hope of the late 90s, now a different political figure appears as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from music.

"Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this moment will pass."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would define a pioneering career built on fearlessness 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 tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His path has involved hardship, including openly discussed periods of mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place 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 vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has propelled him away from the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"Galleries didn't always promote the right artists because they lacked the traditional credentials," he states.

This project itself functions with a different approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful cultural influencers. His path, he believes, is a proof to the power of following your instincts.

How would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."