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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is difficult to overlook: the growth of nationalist groups, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, today a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the solution has consistently been to celebrate 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 snapshot of modern Britain, including a broad spectrum of prominent faces from art.

"People with a voice should employ it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this moment will pass."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would shape a groundbreaking career built on fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to challenges, including well-documented battles with depression and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has inspired him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"The establishment often failed to celebrate the right artists because they did not have the right pedigree," he comments.

This project itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he feels, is a testament to the power of following your instincts.

How would the Enninful of that era think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."