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 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the hope of the previous decade, today a different political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the antidote has long been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from art.

"People with a voice should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this period will end."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would define a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, 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 achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."

Defying the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has involved adversity, including publicly shared battles with mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. 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 embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has inspired him away from the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to celebrate the truly innovative creators because they lacked the traditional credentials," he comments.

The magazine 72 itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

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

How would the Enninful of that era think of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."