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

A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. But since that time, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the resurgence of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Where once there was the optimism of the late 90s, now a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

For Enninful, the antidote has long been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from literature.

"People with a voice should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this phase will end."

Hope in the Next Generation

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

His formative years would forge a trailblazing career built on boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"Ignoring huge sections 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 recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. 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."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has involved hardship, including publicly shared struggles with mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity 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 determination to be defined narrowly has inspired him outside the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to promote the truly innovative creators because they did not have the right pedigree," he states.

This project itself uses a novel business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of following your instincts.

What would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."