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

A chance encounter during a tube journey in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the rise of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, now a different political personality appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the response has always been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from politics.

"Those in a position of influence should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this period will fade."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

His formative years would define a groundbreaking career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales increased.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside."

Defying the stereotype of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His journey has included its share of adversity, including well-documented battles with mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear 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 prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has propelled him beyond the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Galleries sometimes neglected to promote the right artists because they did not have the traditional credentials," he observes.

This project itself uses a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions.

How would the Enninful of that era make of the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."