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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. Replacing the hope of the previous decade, today a different political personality appears as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has long been to promote 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, including a wide range of prominent faces from literature.

"People with a voice should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this period will fade."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would forge a trailblazing career marked by boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales grew.

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

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to hardship, including well-documented periods of mental health and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything 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 drive to be defined narrowly has propelled him away from the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"Galleries often failed to shine a light on the truly innovative creators because they did not have the expected background," he comments.

This venture itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of pursuing your passions.

How would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."