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 changed forever the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the growth of nationalist groups, the pushback against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the Blair era, currently a more divisive political personality stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, 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, featuring a broad spectrum of prominent faces from literature.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this phase will fade."

Hope in the Next Generation

He draws solace 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 define a trailblazing career characterised by boldness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has included its share of challenges, including openly discussed battles with mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s similar 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 fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has led him away from the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they lacked the traditional credentials," he comments.

The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential creative power brokers. His path, he states, is a demonstration to the power of following your instincts.

What would the Edward of the 90s react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."