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

A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "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 yearn for that spontaneity."

While Enninful may seem wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the return of traditional beauty standards. Replacing the optimism of the previous decade, currently a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the response has always been to promote culture in all its variety. This was the driving force 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.

"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this period will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales increased.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. 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 found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to challenges, including well-documented periods of depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has led him beyond the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"The establishment sometimes neglected to promote the right artists because they lacked the expected background," he observes.

The magazine 72 itself functions with a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful cultural influencers. His path, he believes, is a proof to the power of following your instincts.

What would the Edward of the 90s make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."