The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

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

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, currently a different political force looms as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the response has long been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature.

"People with a voice should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will end."

A New Wave of Consciousness

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

Those early experiences would forge a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has involved hardship, including openly discussed periods of depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, 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 figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has led him outside the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Institutions often failed to promote the most relevant talents because they lacked the expected background," he comments.

This venture itself uses a novel approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected cultural influencers. His path, he feels, is a proof to the power of following your instincts.

What would the Enninful of that era make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."