The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the resurgence of far-right politics, the reaction against progressive values, and the return of narrow beauty standards. Replacing the hope of the late 90s, now a different political personality looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

According to Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from music.

"Individuals with a platform should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this moment will fade."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would define a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency 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’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including well-documented struggles with mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, 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."

Curating a Cultural Era

This drive to be typecast has led him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Institutions often failed to celebrate the truly innovative creators because they did not have the expected background," he comments.

This venture itself uses a different approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential cultural influencers. His story, he states, is a demonstration to the power of following your instincts.

What would the Edward of the 90s think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."