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 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is in good company. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle 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 employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this moment will pass."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds."

Defying the stereotype of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has included its share of adversity, including openly discussed battles with mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has inspired him outside the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Institutions often failed to celebrate the truly innovative creators because they lacked the right pedigree," he states.

This venture itself uses a unique approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful cultural influencers. His journey, he feels, is a testament to the power of pursuing your passions.

What would the Edward of the 90s think of the his current self? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."