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

A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the resurgence of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, now a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the response has long been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from music.

"Individuals with a platform should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this moment will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would define a pioneering career marked by boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His path has involved adversity, including well-documented battles with depression 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 time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has led him outside the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"The establishment often failed to promote the most relevant talents because they lacked the right pedigree," he observes.

This project itself uses a different approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he believes, is a proof to the power of defying expectations.

How would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."