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 trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful believes a noticeable regression. "I feel, 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 hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the late 90s, now a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the response has consistently been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from art.

"Those in a position of influence should use it," he asserts, explaining 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 opportunity. That’s the Britain I believed in. I trust this phase will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. 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 dual identity on the inside and the outside."

In contrast to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including openly discussed struggles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period 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 passes, I’m just going to do everything 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 be defined narrowly has inspired him away from the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he comments.

The magazine 72 itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he believes, is a proof to the power of pursuing your passions.

What would the younger Edward make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."