The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is increasingly evident: the growth of populist movements, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, today a more divisive political personality stands as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has always been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from politics.

"People with a voice should use it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would forge a pioneering career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has included its share of adversity, including well-documented battles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has led him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment didn't always celebrate the truly innovative creators because they did not have the traditional credentials," he states.

The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

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

What would the Edward of the 90s think of the his current self? He chuckles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. 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 I am unstoppable once I’ve set my intention to do something."