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

A chance encounter on the London Underground in 1988 changed forever the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the Blair era, today a different political personality looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has always been to promote 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 celebration of modern Britain, showcasing a diverse array of cultural icons from literature.

"People with a voice should use it," he says, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this period will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

The beginnings of his career would shape a pioneering career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Critically, sales increased.

"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 established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker".

"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, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His life has involved hardship, including publicly shared struggles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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 fashion person."

The Tate Britain Exhibition

This refusal to be typecast has inspired him beyond the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.

"The establishment didn't always celebrate the most relevant talents because they weren't of the expected background," he observes.

This project itself operates on a different approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful cultural influencers. His story, he believes, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era make of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."