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

An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a different political figure appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has consistently been to celebrate 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, featuring a diverse array of influential figures from literature.

"Individuals with a platform should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this moment will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

His formative years would shape a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, 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, an octogenarian, and people from varied communities. Importantly, sales rose.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has not been immune to hardship, including well-documented periods of depression and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has propelled him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.

"Galleries often failed to promote the truly innovative creators because they lacked the right pedigree," he observes.

This project itself operates on a unique business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential creative power brokers. His story, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."