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

An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

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

Although Enninful appears wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, today a different political personality stands as a possible leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

In Enninful's view, the response has consistently been to celebrate 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 snapshot of modern Britain, showcasing a diverse array of cultural icons from politics.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

A New Wave of Consciousness

He draws solace in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would forge a pioneering career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, 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 individuals from all walks of life. Importantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His journey has included its share of adversity, including publicly shared battles with mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has inspired him beyond the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he states.

This venture itself operates on a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of following your instincts.

How would the Enninful of that era react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."