The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A chance encounter 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 city's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a different political figure appears as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from music.

"Individuals with a platform should employ it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this moment will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."

His formative years would forge a trailblazing career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, 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 explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being on the inside and the outside."

Defying the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His life has involved adversity, including well-documented battles with depression and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, terrified 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 embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him outside the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Galleries often failed to celebrate the right artists because they lacked the right pedigree," he states.

This venture itself operates on a novel business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

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

What would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."