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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem wistful, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the rise of far-right politics, the backlash against social awareness, and the return of narrow beauty standards. In place of the optimism of the late 90s, now a different political personality appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has long been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from music.

"People with a voice should use it," he says, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will pass."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

His formative years would shape a pioneering career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to adversity, including publicly shared battles with mental health and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with 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 like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him outside the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they did not have the right pedigree," he states.

This venture itself operates on a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most influential creative power brokers. His story, he feels, is a testament to the power of pursuing your passions.

What would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."