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

A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, today a different political force appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from literature.

"People with a voice should employ it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will end."

A New Wave of Consciousness

He finds hope in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has involved adversity, including well-documented struggles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, terrified 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 passes, 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 figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has propelled him outside the industry that made his name. He is now putting together a seminal 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 evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Institutions didn't always promote the truly innovative creators because they did not have the expected background," he comments.

The magazine 72 itself operates on a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he feels, is a proof to the power of pursuing your passions.

What would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. 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 nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."