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

A serendipitous meeting during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. 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 long for that rawness."

If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the rise of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has always been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from art.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this period will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

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

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has involved adversity, including openly discussed struggles with mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear 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 do everything 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 refusal to fit into a box has inspired him beyond the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they did not have the traditional credentials," he comments.

The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he feels, is a proof to the power of defying expectations.

How would the Edward of the 90s think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

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