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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the Britart scene – 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 great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of narrow beauty standards. Where once there was the optimism of the Blair era, today a different political force looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the response has consistently been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from art.

"Individuals with a platform should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

The Younger Generation's Awareness

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

Those early experiences would forge a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including openly discussed periods of depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has propelled him outside the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he comments.

The magazine 72 itself uses a unique business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected cultural influencers. His path, he believes, is a proof to the power of defying expectations.

What would the Edward of the 90s react to the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."