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 immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears sentimental, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the growth of nationalist groups, the reaction against social awareness, and the return of Eurocentric beauty standards. Replacing the hope of the Blair era, today a different political personality appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

In Enninful's view, the solution has long been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from literature.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a refuge 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 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 forge a trailblazing career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales rose.

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

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of challenges, including openly discussed battles with mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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 propelled him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"Institutions sometimes neglected to promote the right artists because they did not have the expected background," he observes.

The magazine 72 itself functions with a different strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

A Testament to Resilience

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

What would the younger Edward react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He reflects. "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 doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."