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

A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has consistently been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from music.

"Individuals with a platform should wield it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this phase will end."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a trailblazing career built on boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales rose.

"When you ignore 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 creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His life has included its share of hardship, including publicly shared periods of mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has propelled him outside the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"The establishment often failed to promote the most relevant talents because they did not have the expected background," he observes.

This project itself functions with a different approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he states, is a demonstration to the power of defying expectations.

What would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."