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

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, today a different political force stands as a possible leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the response has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from music.

"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this period will end."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would define a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including publicly shared periods of depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable 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 confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has inspired him away from the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Galleries often failed to celebrate the truly innovative creators because they lacked the traditional credentials," he states.

This venture itself operates on a unique approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful industry leaders. His path, he feels, is a demonstration to the power of following your instincts.

What would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."