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

A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered 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 rolled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political force stands as a potential leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

For Enninful, the response has consistently been to champion 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 celebration of modern Britain, showcasing a wide range of cultural icons from politics.

"Individuals with a platform should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

His formative years would shape a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective between worlds."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has involved adversity, including openly discussed battles with mental health and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable 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 scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has inspired him beyond the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"Galleries often failed to promote the most relevant talents because they lacked the traditional credentials," he observes.

This venture itself uses a unique business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential cultural influencers. His story, he believes, is a proof to the power of defying expectations.

What would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."