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

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the growth of far-right politics, the reaction against progressive values, and the return of traditional beauty standards. In place of the hope of the late 90s, currently a different political force appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from art.

"Those in a position of influence should employ it," he comments, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this phase will end."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would forge a pioneering career characterised by boldness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to challenges, including openly discussed battles with mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has propelled him outside the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"Institutions often failed to promote the truly innovative creators because they weren't of the expected background," he observes.

The magazine 72 itself uses a different strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected cultural influencers. His path, he feels, is a proof to the power of defying expectations.

How would the Edward of the 90s think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."