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

A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, today a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the solution has always been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from literature.

"People with a voice should wield it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this moment will pass."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would forge a pioneering career built on fearlessness and inclusivity. Enninful set a precedent 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 historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to hardship, including publicly shared periods of mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him outside the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they did not have the traditional credentials," he observes.

This venture itself operates on a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts.

What would the Enninful of that era react to 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 within my reach."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."