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

An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the return of traditional beauty standards. Replacing the optimism of the Blair era, today a more divisive political force appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

According to Enninful, the solution has long been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from politics.

"Individuals with a platform should use it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career built on boldness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."

Defying the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to challenges, including openly discussed periods of mental health and substance use.

He has also faced significant health issues, having had multiple operations 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 go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has led him outside the realm that built his career. He is now curating a significant 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 explore the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"Galleries often failed to promote the most relevant talents because they weren't of the traditional credentials," he states.

This venture itself uses a different strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential cultural influencers. His path, he feels, is a testament to the power of defying expectations.

How would the younger Edward react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, 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 I am unstoppable once I’ve made up my mind to do something."