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

An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time 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 understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the resurgence of populist movements, the reaction against social awareness, and the return of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution 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 celebration of modern Britain, featuring a broad spectrum of cultural icons from politics.

"Those in a position of influence should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this moment 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 didn't even know what that was."

His formative years would define a trailblazing career built on fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being both an insider and outsider."

Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of challenges, including well-documented battles with mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has led him beyond the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they did not have the expected background," he observes.

This project itself functions with a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Now, Enninful stands as one of the world's most respected creative power brokers. His story, he feels, is a proof to the power of following your instincts.

How would the Enninful of that era make of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."