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

An unexpected discovery on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the height 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 great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "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."

A Cultural Backslide

This shift is hard to ignore: the growth of populist movements, the reaction against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, currently a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the antidote has always been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from politics.

"Individuals with a platform should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has involved hardship, including publicly shared periods of mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has led him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Institutions often failed to promote the right artists because they did not have the traditional credentials," he states.

This project itself functions with a different business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His story, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s react to the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."