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

A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, 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 recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However 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. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the resurgence of nationalist groups, the reaction against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, today a different political force appears as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from art.

"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this period will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."

His formative years would shape a pioneering career built on boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has included its share of challenges, including openly discussed periods of depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear 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 thought, if this ever passes, I’m just going to embrace every opportunity 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 determination to be typecast has inspired him outside the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"Galleries often failed to promote the right artists because they weren't of the traditional credentials," he states.

This project itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful cultural influencers. His journey, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s react to the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."