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

An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

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

Although Enninful appears wistful, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided 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 hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, today a different political figure looms as a potential leader. Even, the British flag, once an symbol of national pride, has become contentious again.

According to Enninful, the solution 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 celebration of modern Britain, showcasing a diverse array of influential figures from music.

"People with a voice should use it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this period will end."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a trailblazing career marked by boldness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including publicly shared struggles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit 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 industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.

"Institutions often failed to shine a light on the truly innovative creators because they lacked the traditional credentials," he states.

This project itself operates on a unique approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential cultural influencers. His journey, he believes, is a testament to the power of following your instincts.

What would the younger Edward think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."