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

A serendipitous meeting during a tube journey in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the rise of far-right politics, the backlash against social awareness, and the return of traditional beauty standards. Replacing the optimism of the previous decade, today a different political figure appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has long been to promote culture in all its multifaceted forms. 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 broad spectrum of prominent faces from literature.

"People with a voice should use it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim 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 attorneys, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider."

In contrast to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of adversity, including openly discussed struggles with mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has led him beyond the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"Institutions didn't always celebrate the right artists because they lacked the expected background," he states.

This venture itself uses a different business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

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

How would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."