The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery while riding the tube in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, 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 Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the rise of far-right politics, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the Blair era, today a different political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has long 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 snapshot of modern Britain, showcasing a broad spectrum of cultural icons from music.

"Individuals with a platform should use it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this phase will end."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would shape a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales grew.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His path has involved challenges, including well-documented battles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has led him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"The establishment often failed to promote the truly innovative creators because they did not have the traditional credentials," he states.

This venture itself functions with a different strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

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

What would the Edward of the 90s think of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."