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

A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the growth of nationalist groups, the backlash against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, currently a different political personality stands as a potential leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from literature.

"Individuals with a platform should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."

His formative years would define a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His life has involved hardship, including publicly shared struggles with mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him outside the realm that made his name. 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 highlight those who did not receive due recognition at the time.

"The establishment didn't always promote the truly innovative creators because they weren't of the expected background," he observes.

This venture itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful industry leaders. His path, he feels, is a demonstration to the power of following your instincts.

What would the younger Edward react to the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."