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

A serendipitous meeting during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is not the only one. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the growth of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the response has consistently been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from politics.

"Individuals with a platform should use it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will end."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds."

Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and projects peace. His path has included its share of hardship, including publicly shared battles with depression and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. 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 scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has inspired him away from the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"Institutions sometimes neglected to promote the right artists because they did not have the right pedigree," he states.

The magazine 72 itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful cultural influencers. His story, he feels, is a testament to the power of following your instincts.

How would the Edward of the 90s react to the man he has become? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

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