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

An unexpected discovery while riding the tube in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the growth of populist movements, the reaction against social awareness, and the return of narrow beauty standards. Replacing the hope of the previous decade, currently a different political force looms as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has long been to champion 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 snapshot of modern Britain, including a wide range of influential figures from politics.

"Individuals with a platform should use it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would forge a trailblazing career marked by boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has included its share of hardship, including openly discussed struggles with depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured 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 vowed, 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 figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has led him outside the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they did not have the traditional credentials," he states.

This project itself uses a unique business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful industry leaders. His story, he feels, is a testament to the power of defying expectations.

What would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

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