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

A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

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

Although Enninful appears nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the rise of far-right politics, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, currently a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

According to Enninful, the response has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from literature.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period 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 unconscious bias – I didn't even know what that was."

Those early experiences would shape a pioneering career characterised by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said 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 industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including well-documented battles with depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything 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 typecast has inspired him beyond the world that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"Galleries often failed to shine a light on the truly innovative creators because they weren't of the expected background," he comments.

The magazine 72 itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a demonstration to the power of defying expectations.

How would the younger Edward react to the man he has become? He smiles. "He would be astonished, 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 lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."