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

An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the growth of nationalist groups, the reaction against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, currently a different political figure appears as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from politics.

"People with a voice should use it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this moment will end."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would forge a pioneering career marked by boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew.

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

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Defying the popular image of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of hardship, including well-documented battles with mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him beyond the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing 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 a spotlight at the time.

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

This venture itself operates on a novel approach, 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 greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."