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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

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

While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the rise of far-right politics, the backlash against progressive values, and the return of traditional beauty standards. Replacing the optimism of the Blair era, today a more divisive political personality stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has consistently been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from art.

"People with a voice should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this moment will fade."

A New Wave of Consciousness

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

Those early experiences would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. 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."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His path has included its share of adversity, including publicly shared struggles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period 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 vowed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has propelled him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"The establishment didn't always celebrate the truly innovative creators because they lacked the traditional credentials," he observes.

This project itself uses a unique approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential cultural influencers. His path, he believes, is a proof to the power of following your instincts.

What would the Enninful of that era make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."