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 trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, currently a more divisive political personality appears as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from art.

"Those in a position of influence should use it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this period will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would define a groundbreaking career built on boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

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

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was 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 suspicion laws … those experiences gave me a sense of being on the inside and the outside."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has involved hardship, including well-documented periods of mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has led him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"The establishment didn't always shine a light on the most relevant talents because they lacked the expected background," he observes.

This project itself uses a unique business model, 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 one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful cultural influencers. His story, he states, is a proof to the power of defying expectations.

How would the Enninful of that era think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."