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

A chance encounter while riding the tube in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the resurgence of far-right politics, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a more divisive political force appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the response has consistently been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from politics.

"Individuals with a platform should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this phase will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."

His formative years would define a groundbreaking career built on fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including publicly shared battles with depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has propelled him beyond the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.

"The establishment didn't always shine a light on the right artists because they weren't of the expected background," he states.

This venture itself operates on a different business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of following your instincts.

What would the younger Edward make of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "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 counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."