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

A serendipitous meeting during a tube journey in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the height of the YBA movement – 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 rolled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the late 90s, now a more divisive political force stands as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.

For Enninful, the antidote has always been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from art.

"Those in a position of influence should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will end."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would shape a groundbreaking career built on fearlessness and diversity. 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 time featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has involved challenges, including well-documented battles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has propelled him beyond the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Institutions didn't always celebrate the most relevant talents because they weren't of the expected background," he states.

This venture itself operates on a unique business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful cultural influencers. His path, he feels, is a proof to the power of following your instincts.

What would the younger Edward react to the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

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