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

A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. 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 hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a noticeable regression. "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 Perceived Regression

This shift is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a more divisive political personality looms as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again.

According to Enninful, the antidote has long been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from music.

"Those in a position of influence should use it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this period will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would shape a trailblazing career characterised by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Defying the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His journey has involved hardship, including openly discussed battles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. 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 pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has inspired him beyond the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.

"The establishment sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he comments.

This venture itself operates on a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential industry leaders. His journey, he believes, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."