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

A serendipitous meeting while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the resurgence of nationalist groups, the reaction against progressive values, and the reinforcement of narrow beauty standards. In place of the hope of the Blair era, currently a different political figure appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.

"Individuals with a platform should use it," he comments, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

His formative years would shape a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to adversity, including publicly shared periods of mental health and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has inspired him beyond the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"Galleries didn't always promote the truly innovative creators because they weren't of the traditional credentials," he states.

This project itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he states, is a testament to the power of defying expectations.

What would the Edward of the 90s make of the his current self? He smiles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."