The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

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

If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the growth of populist movements, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a more divisive political force stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the solution has consistently been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from politics.

"People with a voice should wield it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this period will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, including publicly shared struggles with mental health and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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 fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him away from the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he observes.

This venture itself uses a different strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of defying expectations.

What would the Enninful of that era make of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. 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 came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."