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

A chance encounter during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the resurgence of nationalist groups, the pushback against progressive values, and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, now a more divisive political force stands as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

For Enninful, the solution has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from art.

"People with a voice should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will end."

The Younger Generation's Awareness

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

Those early experiences would forge a pioneering career built on boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has since founded 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 "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His life has not been immune to hardship, including well-documented battles with mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, 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 ends, I’m just going to embrace every opportunity 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 drive to be typecast has propelled him outside the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Galleries didn't always promote the right artists because they weren't of the right pedigree," he comments.

This venture itself operates on a different business model, forgoing traditional advertising in favour of creative collaborations. "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

Now, Enninful operates as one of the world's most respected cultural influencers. His story, he states, is a testament to the power of pursuing your passions.

How would the Enninful of that era think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."