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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the growth of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the late 90s, currently a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the solution has always been to promote 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 celebration of modern Britain, including a broad spectrum of influential figures from music.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would forge a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

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 former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has included its share of hardship, including openly discussed battles with depression and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has led him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Galleries often failed to promote the right artists because they weren't of the traditional credentials," he observes.

This project itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he believes, is a proof to the power of pursuing your passions.

How would the younger Edward react to the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."