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

A chance encounter during a tube journey 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 mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "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 long for that rawness."

Although Enninful appears sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, now a different political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from art.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will end."

Hope in the Next Generation

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

Those early experiences would forge a trailblazing career marked by fearlessness and diversity. Enninful made history as the first man, first black man, 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 models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of challenges, including well-documented battles with mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has propelled him outside the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"The establishment didn't always promote the truly innovative creators because they lacked the traditional credentials," he comments.

This project itself operates on a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

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

What would the Enninful of that era make of the his current self? He smiles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."