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

A chance encounter during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director 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 states. "Then Naomi Campbell 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 energy."

Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the resurgence of far-right politics, the pushback against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from music.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life 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 believe this phase will fade."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career characterised by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His life has involved adversity, including publicly shared struggles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, fearing 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 pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has led him beyond the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he comments.

This venture itself functions with a different strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential industry leaders. His journey, he feels, is a proof to the power of pursuing your passions.

How would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."