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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the rise of far-right politics, the reaction against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, today a more divisive political force stands as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from art.

"People with a voice should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would forge a pioneering career built on boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His path has involved challenges, including publicly shared struggles with mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has led him beyond the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes.

This project itself uses a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most influential cultural influencers. His journey, he believes, is a demonstration to the power of following your instincts.

What would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I nearly 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."