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

An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, now a different political figure looms as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the response has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from music.

"Those in a position of influence 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 hadn't given my family a home and an education. That’s the Britain I cherished. I believe this phase will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would define a groundbreaking career characterised by boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity on the inside and the outside."

Defying the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved adversity, including openly discussed battles with depression and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, 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."

Curating a Cultural Era

This refusal to be typecast has propelled him beyond the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"The establishment often failed to promote the most relevant talents because they weren't of the right pedigree," he states.

The magazine 72 itself uses a unique approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he states, is a demonstration to the power of defying expectations.

How would the Enninful of that era make of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."