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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. 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 became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the rise of populist movements, the pushback against social awareness, and the return of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a different political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the response has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from literature.

"People with a voice should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Defying the popular image of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His path has not been immune to hardship, including publicly shared battles with mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 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 confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him outside the world that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"Galleries didn't always celebrate the truly innovative creators because they did not have the expected background," he observes.

This venture itself functions with a unique approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a testament to the power of defying expectations.

How would the Edward of the 90s make of the his current self? He smiles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."