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

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the backlash against progressive values, and the return of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political force looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from music.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective between worlds."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including well-documented battles with depression and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared 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 be typecast has led him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"Galleries didn't always celebrate the truly innovative creators because they did not have the traditional credentials," he observes.

This venture itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

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

What would the Edward of the 90s react to the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."