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

An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, now a different political figure stands as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from music.

"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will end."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career marked by boldness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. 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 between worlds."

Defying the caricature of fashion editors as brash and temperamental, Enninful is calm and projects peace. His journey has involved hardship, including openly discussed periods of mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable 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 figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has led him beyond the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Galleries often failed to promote the right artists because they did not have the traditional credentials," he observes.

This project itself uses a different strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."