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 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. 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 mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political force stands as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.

For Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from literature.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this period will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a pioneering career built on fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of adversity, including publicly shared battles with depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, 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 fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has led him outside the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they weren't of the right pedigree," he states.

This project itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

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

How would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I came close to losing 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."