The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery during a tube journey in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a profound shift. "In my view, 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 shift is difficult to overlook: the rise of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, today a different political figure looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from art.

"People with a voice should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will pass."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is calm and projects peace. His journey has involved hardship, including publicly shared periods of mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"The establishment didn't always celebrate the truly innovative creators because they weren't of the traditional credentials," he comments.

This venture itself operates on a unique business model, rejecting 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 larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most influential creative power brokers. His story, he feels, is a proof to the power of defying expectations.

How would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."