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

An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the growth of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, now a different political figure stands as a potential leader. Even, the British flag, once an badge of national pride, has become contentious again.

In Enninful's view, the response has consistently been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from art.

"Those in a position of influence should use it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will fade."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

His formative years would define a groundbreaking career characterised by fearlessness and diversity. 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 leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds."

Defying the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has not been immune to adversity, including publicly shared battles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, away from work, terrified 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 ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him beyond the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to shine a light on the right artists because they weren't of the expected background," he comments.

This project itself operates on a unique business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His path, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era react to the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."