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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the backlash against social awareness, and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political figure looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the response has consistently 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, featuring a wide range of prominent faces from literature.

"Those in a position of influence should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will fade."

The Younger Generation's Awareness

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

The beginnings of his career would shape a pioneering career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Defying the popular image of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has included its share of adversity, including openly discussed struggles with depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has led him away from the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Galleries often failed to promote the truly innovative creators because they weren't of the right pedigree," he states.

This project itself functions with a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential industry leaders. His path, he feels, is a proof to the power of defying expectations.

How would the younger Edward react to the Edward of today? He chuckles. "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. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."