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 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "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 long for that energy."

Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, currently a different political force looms as a potential leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the response has always been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from literature.

"People with a voice should use it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this period will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would forge a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider."

Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has involved hardship, including well-documented struggles with depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has inspired him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he observes.

This venture itself operates on a different business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

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

How would the Enninful of that era think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."