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

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the rise of populist movements, the backlash against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, now a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from politics.

"Individuals with a platform should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will pass."

The Younger Generation's Awareness

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

Those early experiences would define a trailblazing career characterised by fearlessness and representation. Enninful broke barriers 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 landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.

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

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared 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 between worlds."

Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of adversity, including well-documented struggles with mental health and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has led him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"The establishment didn't always celebrate the most relevant talents because they did not have the right pedigree," he observes.

This project itself functions with a different approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he believes, is a demonstration to the power of defying expectations.

What would the Edward of the 90s react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."