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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "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 long for that rawness."

Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, currently a different political force looms as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.

According to Enninful, the response has always been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from music.

"Those in a position of influence should employ it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would define a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has involved hardship, including publicly shared periods of depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has led him outside the world that made his name. He is now curating 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 explore the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"The establishment didn't always shine a light on the truly innovative creators because they did not have the right pedigree," he observes.

The magazine 72 itself functions with a novel business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s make of the his current self? He smiles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."