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

A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the growth of far-right politics, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political figure looms as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, 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 celebration of modern Britain, showcasing a wide range of prominent faces from literature.

"People with a voice should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this period will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would shape a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched 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 status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to 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 Sus laws … this duality gave me a unique perspective on the inside and the outside."

Defying the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His life has included its share of challenges, including publicly shared periods of depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has led him away from the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"The establishment often failed to celebrate the most relevant talents because they weren't of the right pedigree," he states.

This venture itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he feels, is a proof to the power of following your instincts.

What would the Enninful of that era think of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."