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

A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, today a more divisive political force looms as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from politics.

"People with a voice should employ it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will end."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

His formative years would forge a trailblazing career characterised by boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. 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."

Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His path has involved hardship, including openly discussed periods of mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, 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 figure in fashion."

A Foray into Curation

This determination to be defined narrowly has led him outside the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"Institutions sometimes neglected to promote the most relevant talents because they lacked the expected background," he observes.

This venture itself operates on a novel strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of following your instincts.

What would the Edward of the 90s think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."