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

A serendipitous meeting while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the resurgence of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the late 90s, currently a different political personality stands as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has long been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature.

"Individuals with a platform should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would define a trailblazing career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His journey has not been immune to hardship, including publicly shared struggles with mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him beyond the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to shine a light on the right artists because they lacked the expected background," he comments.

This venture itself operates on a unique approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful industry leaders. His story, he believes, is a testament to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."