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

A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

While Enninful may seem nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, now a different political force appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has long been to promote culture in all its diversity. 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 influential figures from music.

"People with a voice should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would forge a pioneering career marked by fearlessness and representation. Enninful set a precedent 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 models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to challenges, including well-documented periods of mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s like 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 scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Institutions didn't always shine a light on the right artists because they lacked the traditional credentials," he states.

This project itself operates on a unique approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he feels, is a demonstration to the power of defying expectations.

How would the Edward of the 90s think of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we fled our country. I nearly lost 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 decided to do something."