The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. 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 rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. 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. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a different political force appears as a potential leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.

In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from music.

"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this phase will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would forge a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up 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 declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved challenges, including well-documented battles with depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has inspired him away from the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"The establishment often failed to shine a light on the most relevant talents because they lacked the traditional credentials," he comments.

This venture itself uses a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a proof to the power of pursuing your passions.

What would the Enninful of that era make of the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."