The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the rise of nationalist groups, the pushback against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, now a more divisive political force looms as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has long been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this moment will end."

Hope in the Next Generation

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

His formative years would forge a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."

Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including well-documented struggles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has led him beyond the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment didn't always celebrate the right artists because they did not have the right pedigree," he observes.

This project itself operates on a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

What would the Enninful of that era make of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."