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

An unexpected discovery while riding the tube in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the antidote has always been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from politics.

"Individuals with a platform should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would forge a pioneering career marked by fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," 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 states his aim to continue being a "innovator".

"I’ve always questioned the status quo. 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, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has included its share of challenges, including openly discussed periods of depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to 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 refusal to be typecast has led him outside the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"The establishment often failed to shine a light on the truly innovative creators because they lacked the right pedigree," he observes.

This venture itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful industry leaders. His journey, he feels, is a proof to the power of defying expectations.

What would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."