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

A chance encounter during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the rise of populist movements, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the previous decade, today a more divisive political figure looms as a potential leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from art.

"Individuals with a platform should use it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would define a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose.

"Ignoring large portions 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 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 "innovator".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to adversity, including publicly shared struggles with depression and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared 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 defined narrowly has propelled him away from the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing 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 give platform to those who lacked adequate attention at the time.

"The establishment often failed to shine a light on the truly innovative creators because they lacked the expected background," he observes.

The magazine 72 itself operates on a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

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

How would the younger Edward think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

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