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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the growth of far-right politics, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a more divisive political figure stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has long been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from politics.

"People with a voice should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will pass."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would define a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to challenges, including well-documented battles with mental health and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict 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 industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.

"The establishment sometimes neglected to shine a light on the right artists because they weren't of the expected background," he comments.

The magazine 72 itself uses a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential creative power brokers. His story, he believes, is a testament to the power of following your instincts.

How would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."