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

A chance encounter during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has grown intense. But since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the growth of far-right politics, the backlash against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, today a different political figure stands as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to champion 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 portrait of modern Britain, including a broad spectrum of prominent faces from art.

"Individuals with a platform should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this phase will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would forge a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, 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, older individuals, and people from varied communities. Significantly, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has involved challenges, including openly discussed periods of depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 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."

A Foray into Curation

This drive to fit into a box has led him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"The establishment didn't always celebrate the truly innovative creators because they weren't of the expected background," he comments.

This venture itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

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

How would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."