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

A serendipitous meeting while riding the tube in 1988 changed forever the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the zenith of the YBA movement – 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 close. We all mixed across disciplines. Friday rolled into 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 grown intense. But since that time, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, today a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the response has consistently been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from politics.

"People with a voice should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will pass."

Hope in the Next Generation

He takes comfort 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."

Those early experiences would forge a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His life has included its share of hardship, including openly discussed battles with mental health and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place 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 vowed, if this ever is over, 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."

Curating a Cultural Era

This determination to fit into a box has inspired him away from the industry that made his name. He is now putting together 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 artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Galleries often failed to shine a light on the truly innovative creators because they lacked the traditional credentials," he observes.

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

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he feels, is a proof to the power of defying expectations.

What would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."