The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

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

Although Enninful appears sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. In place of the hope of the Blair era, now a different political force stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the response has long been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from music.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this moment will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would define a groundbreaking career characterised by boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to 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 … this duality gave me a dual identity on the inside and the outside."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has involved hardship, including openly discussed battles with depression and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him outside the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Institutions often failed to promote the most relevant talents because they lacked the expected background," he states.

The magazine 72 itself functions with a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential cultural influencers. His path, he states, is a demonstration to the power of pursuing your passions.

What would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."